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		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''Zhu Ziqing'''&lt;br /&gt;
&lt;br /&gt;
A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay &amp;quot;''Back View''&amp;quot; (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.&lt;br /&gt;
&lt;br /&gt;
'''朱自清'''&lt;br /&gt;
&lt;br /&gt;
第三个例子是朱自清，他在自己的作品中展现了另一种面貌。他因是“背影”的作者而为人熟知，“背影”是最常被转载的故事式中国散文，也是标准的校本教材。这个故事在孝顺主题上塑造的很成功。通过在车站与自己的父亲告别，他懂得了父亲的爱，同时自己也成长了。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 08:15, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription &amp;quot;''The Moonlit Lotus Pond''&amp;quot;, whose style easily may seem mannerist to the Western reader.&lt;br /&gt;
&lt;br /&gt;
Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things.  In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.&lt;br /&gt;
&lt;br /&gt;
通过他人的观察（这里主要指朱自清的父亲），这篇自我反省式的文章帮助朱自清认清了自己。经常出版的第二版本也来自朱自清。“荷塘月色”中描述的天空星云，抒情般的景色是通过平行结构和重复结构中展现出来的，这种风格使西方读者很容易辨别。&lt;br /&gt;
&lt;br /&gt;
据称朱自清反对一切政治参与，只写不引人注意的事情。在台湾，主要因为朱自清的所谓政治独立，他因而代替了明确反对民国的作家鲁迅。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:33, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''&amp;quot;Report On the Massacre of the Government''&amp;quot;[	 (Zhizhengfu da tusha ji).].&lt;br /&gt;
&lt;br /&gt;
''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''&lt;br /&gt;
&lt;br /&gt;
我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。&lt;br /&gt;
&lt;br /&gt;
''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
From this experience, Zhu addresses directly the repsonsible political leaders:&lt;br /&gt;
&lt;br /&gt;
''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''&lt;br /&gt;
经过这次经验，朱直接给负责相关部门的政府官员写信道：“段祺瑞，你好好想一想！[…]我们要怎么跟世界人民解释？[…]当然了，段祺瑞和其他士兵不用想都会承认这次的暴行；但是，我们，作为中华人民共和国，怎么能以这样一种无耻的政府面对世界？，[…]我们，[…]必须要问，这么多人牺牲了，我们应该做什么？”--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:11, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his &amp;quot;''Ways to die''&amp;quot;[	 (Si fa).] - in which he finds &amp;quot;to be shot&amp;quot; the best method to die. The supposedly less politically engaged Zhu shows here more engagement.&lt;br /&gt;
&lt;br /&gt;
The essay &amp;quot;''Facing the New China''&amp;quot;[	 (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.&lt;br /&gt;
相比之下，鲁迅用悲伤的笔调描绘了同样的大屠杀，而周作人在他的《死亡之道》中讽刺地写道—他发现“被枪杀”是最好的死亡方法。据说较少参与政治的朱自清在这里表现出更多的参与。&lt;br /&gt;
文章《面对新中国》是朱自清的政治体现：他要求民主，启蒙和提高教育水平。--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 06:51, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
相比之下，鲁迅则用低吟隐晦的笔调描绘了同一场大屠杀，同样，周作人在其作品《死法》中讽刺地写到他发现“被枪杀”是最好的死法。由此观之，大众所言极少参与政治活动的朱自清实际上很大程度投身于其中。&lt;br /&gt;
&lt;br /&gt;
文章《新中国在望中》是朱自清政治立场的体现：他提倡民主，呼吁启蒙，倡导提高教育水平。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:33, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''&lt;br /&gt;
&lt;br /&gt;
A few weeks before his death, he demanded in the speech ''&amp;quot;Today's duty of the Intellectuals''&amp;quot;[	 (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.&lt;br /&gt;
&lt;br /&gt;
“中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”&lt;br /&gt;
&lt;br /&gt;
”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
With only a handful of essays I have demonstrated,  that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.&lt;br /&gt;
&lt;br /&gt;
我只展示了几篇文章，如果我们仔细阅读他们的小众散文作品，就会发现这三位作者的形象发生了实质性的变化。想象一下，如果文学史和选集不仅讲述戏剧、小说和诗歌的历史，而且赋予散文应有的地位，那么20世纪的中国文学将会发生怎样的变化。以下部分是我的专著《20世纪中国散文》的成果。&lt;br /&gt;
&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''&lt;br /&gt;
&lt;br /&gt;
Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.&lt;br /&gt;
&lt;br /&gt;
'''散文潮就像一面镜子，反映出了日渐显著的个体性、公众场合的参与度和现代中国社会令人眼花缭乱的种种特质'''&lt;br /&gt;
&lt;br /&gt;
对散文进行全面审视，并分析其内在本质，要求我们在中华人民共和国、台湾、香港和美国的各大书店、图书馆开展广泛研究，获取散文集或涉及散文主题的二次文献等可用资源。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:35, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.&lt;br /&gt;
&lt;br /&gt;
Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[	 (baogao wenxue) (Klaschka 1998).].&lt;br /&gt;
&lt;br /&gt;
我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。 谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。&lt;br /&gt;
&lt;br /&gt;
分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[	 sanwen congshu 散文叢書.].&lt;br /&gt;
&lt;br /&gt;
The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey.  There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:&lt;br /&gt;
&lt;br /&gt;
散文的发行于1920年至1930年达到繁盛主要原因在于新杂志的出现。新杂志成为了当代散文家以及散文丛书的载体。&lt;br /&gt;
&lt;br /&gt;
散文发行量不断上升的原因，可以追溯到“文化大革命”时期的大清洗，造成了需求的积压。1980至1982年间印刷了一百万册散文集便很好的反映了上述观点。而这一数据仅包含于我为了调查而收录的130本代表性书目的样本中。20世纪90年代中期，中国散文盛行的原因有三点。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:17, 28 December 2020 (UTC)&lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[	 (Hall 1984:xiii).].&lt;br /&gt;
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2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands. &lt;br /&gt;
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3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.&lt;br /&gt;
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1，当前中国社会的快节奏需要分篇和短篇文本。正如霍尔所言，：“ ......我们生活在博览会时代。” [（Hall 1984：xiii）]。&lt;br /&gt;
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2，对于正在增强的个人意识来说，散文是主观表达的最直接形式，甚至比具有韵律和形式要求的诗歌更直接。&lt;br /&gt;
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3，通过散文讨论社会政治问题的兴趣的复兴，就像1920年代/ 30年代那样。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:35, 27 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:&lt;br /&gt;
&lt;br /&gt;
1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.&lt;br /&gt;
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如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文: &lt;br /&gt;
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1、异国情调 在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)&lt;br /&gt;
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如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文: &lt;br /&gt;
&lt;br /&gt;
1、异国情调 在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there.  Wang Meng has been overestimated in the People’s Republic of China due to his political post.&lt;br /&gt;
&lt;br /&gt;
3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[	 (see Lin Yaode 1989:50).]&lt;br /&gt;
&lt;br /&gt;
Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.&lt;br /&gt;
&lt;br /&gt;
2、社会政治 在台湾，鲁迅被禁锢了很久，但如今，如上述调查证明，他在台湾现代作家中排名第12位。 在中华人民共和国，王蒙因其政治职务而被高估。&lt;br /&gt;
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3，个人 在香港 关于余光中的文学被他的弟子黄伟良检查和删节，他是赞成余光中的。（见林耀德1989：50）。&lt;br /&gt;
&lt;br /&gt;
在列举了一些关于论文热潮以及在论文文化领域中对不同行为者的支持和压制的原因之后，我想通过列举几世纪前夕出现的一些论文趋势来结束我的论文。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:51, 27 December 2020 (UTC)&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses.  The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &amp;quot;art pourt l'art&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020 &lt;br /&gt;
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政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&amp;quot;''On dreams''&amp;quot;[	&amp;quot;Shuo meng 說夢&amp;quot; On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 (&amp;quot;''My own garden''&amp;quot;[	 9.1923.], &amp;quot;''The Fly''&amp;quot;[	 1924.], &amp;quot;''Reading on the Toilet''&amp;quot;[	 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.&lt;br /&gt;
&lt;br /&gt;
非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gong Yumian 龚钰冕==&lt;br /&gt;
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928.  This observation is supported by the results of the mentioned statistical analysis.  Among the upper list places of the political essay after 1949 there are critical essays.   For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.&lt;br /&gt;
&lt;br /&gt;
在本世纪末，位于排行榜前列的不是政府要求的肯定性文本，而是非政治性的文章位于前列。尤其是从1923年到1928年，大部分非政治性文章可以追溯到共和党时代。这一观察结果得到上述统计分析结果的支持。在1949年以后的政治论文中，排名较高的有批评文章。在中华人民共和国，台湾和香港最常选择的论文中，道德和美学标准似乎已成为基础话题。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 06:56, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: &amp;quot;readers&amp;quot;).  Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in &amp;quot;''Wild vegetables of my home region''&amp;quot; by Zhou Zuoren, which ranks 3rd[	In Jia Pingwa's &amp;quot;Moon traces&amp;quot;, which ranks 11, and in Ba Jin's &amp;quot;''Paradise for Birds''&amp;quot;, which ranks 19].  Therefore one can state, that moving essays form the top.&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
In 1927, Chinese literature took the form of 'engaged literature'.  In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.&lt;br /&gt;
&lt;br /&gt;
1927年，中国文学出现了“参与文学”的形式。不同于那个时候，在20世纪90年代，有关日常利益的政治讨论只占很小的一部分。 20世纪80年代，包括诗歌和散文在内的所有流派都被批评家用来反对共产主义的主要叙事或毛泽东主义对艺术作为意识形态的理解。 20世纪90年代下半页，主讲者本人似乎迷失在个人的主观性以及越来越正式化但基本上空虚的城市生活的日常亵渎和平庸中。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:35, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[	''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]&lt;br /&gt;
&lt;br /&gt;
上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”） 费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''References''' [partly mentioned with German translation] （不用翻）&lt;br /&gt;
&lt;br /&gt;
Vera Schwarcz 1996, Vera Schwarcz, &amp;quot;The pain of sorrow: public uses of personal grief in modern China&amp;quot;, in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)&lt;br /&gt;
&lt;br /&gt;
Ba Jin 1982, Ba Jin: &amp;quot;Yi feng huixin 一封回信&amp;quot; (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.&lt;br /&gt;
&lt;br /&gt;
Ba Jin 1982a, Ba Jin: &amp;quot;Yi pian xuwen 一篇序文&amp;quot; (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984&lt;br /&gt;
&lt;br /&gt;
Ba Jin 1956, Ba Jin 巴金: &amp;quot;Duli sikao 獨立思考&amp;quot; (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf  1956.]&lt;br /&gt;
&lt;br /&gt;
Ba Jin 1962, &amp;quot;Zuojia de yongqi yu zerenxin 作家的勇氣與責任心&amp;quot; (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: &amp;quot;Wenxue tan 文學談&amp;quot; (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1919, Zhou Zuoren, &amp;quot;Zuxian chongbai 1919 (Ancestor Worship),&amp;quot; in Early Essays, op.cit., pp. 78&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求&amp;quot; (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148&lt;br /&gt;
&lt;br /&gt;
Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)&lt;br /&gt;
&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''&lt;br /&gt;
&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
&lt;br /&gt;
In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.&lt;br /&gt;
&lt;br /&gt;
《中国现代文学与散文体裁：以新视角》&lt;br /&gt;
&lt;br /&gt;
''吴漠汀''&lt;br /&gt;
&lt;br /&gt;
在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
《中国现代文学与散文体裁：新视角》&lt;br /&gt;
&lt;br /&gt;
吴漠汀&lt;br /&gt;
&lt;br /&gt;
本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
'''1. The unknown genre'''&lt;br /&gt;
&lt;br /&gt;
The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);&lt;br /&gt;
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'''1.未知体裁'''&lt;br /&gt;
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二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''1.未知体裁'''&lt;br /&gt;
&lt;br /&gt;
20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''1.未知体裁'''&lt;br /&gt;
&lt;br /&gt;
20世纪的选集和文集所讲述的文学史叙事，勾勒出一幅不完整的中国文学图景。散文的体裁是缺乏的。在我的论文中将要探讨如果我们把散文也考虑进去，文学的图景是否可以保持不变。长期以来，这一文体作为一种优秀的文体被忽视（马古利耶斯1949年，施密特-格林策1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年，麦克杜格尔1998年）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:23, 27 December 2020 (UTC)&lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement.  Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.&lt;br /&gt;
&lt;br /&gt;
由于自民国初年五四运动确立的总叙事之后，对小说文学的重视和写作的白话化，因而它的系列小说，就一直受到重视。 现代选本会让读者相信诗歌、小说、戏剧这三驾马车构成了中国现代文学创作的主干。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:20, 27 December 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''&lt;br /&gt;
&lt;br /&gt;
Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu).  Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term &amp;quot;wu yunwen&amp;quot; which corresponds to the term &amp;quot;epic&amp;quot; in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.  The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it.  The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.&lt;br /&gt;
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
&amp;quot;Essay&amp;quot;, Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective.  This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form.  The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously.  Freedom in form and content is essential for the essay.&lt;br /&gt;
&lt;br /&gt;
“散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“散文”是一种体裁术语，在汉语中也叫做“sanwen”，指篇幅较短、自成一体的非虚构散文文本，散文创作者可以从主观的角度，将个人的经验调和到事物或问题上。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。文章素材由散文家自主掌握，主题可以置于更大的背景之下，甚至可以一种幽默的方式呈现。散文的形式和内容都是自由的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:36, 27 December 2020 (UTC)&lt;br /&gt;
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“随笔”，中文名多为“散文”，是一种体裁术语，指篇幅较短、自成一体的非虚构散文文本，作者试图从主观视角来调和个人对对象或问题的经验。&lt;br /&gt;
散文试图从不同的方面进行联想，它不是作为日常使用的文本，而是作为艺术或教育要求的语言方式，虽然如此，还是以一种可理解的方式呈现。&lt;br /&gt;
资源由随笔作家独享，话题可以在更大的背景下展出，甚至可以幽默地呈现。形式和内容的自由对这篇随笔至关重要。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 14:38, 27 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily.  On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings.  One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.&lt;br /&gt;
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不同的视角范围在国际上的文章体裁。体裁主要是通过对文学的学术研究，对文学进行专门的沉思，为了能够更容易地比较同类文本而进行的划分。另一方面，像郑明立对文章那样，以众多小实体进行细分，则是对这种细分的意义提出质疑，以参考解释学的研究成果。我们还必须时刻注意文学本身的变化和科学观点的相对性，即使其在国际上被接受，也是适时的。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:14, 28 December 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.  All these other genres are seen as international genres.  My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.&lt;br /&gt;
&lt;br /&gt;
地域差异对散文的影响似乎不如对已确立的文体如短篇小说、小说的影响大，也远不如对诗歌的影响大。除散文外的其他文体被视为国际文体。我认为中西方散文也属于相同的国际文体，跨文化的相互作用也许可以在形式和内容上证明这一假设。&lt;br /&gt;
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对于文章而言，比起短篇故事，小说等已存的体裁，区域差异似乎不那么重要，对于诗歌而言，区域差异更不重要。所有这些其他的体裁都被看作国际体裁。中国和西方的文章都属于同一国际体裁，这一假设也许可以通过形式和内容上的跨文化相互关系来证明。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:27, 27 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
&lt;br /&gt;
In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization.  The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay.  This is a second hint that the modern Chinese essay belongs to the international genre of the essay.&lt;br /&gt;
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在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).&lt;br /&gt;
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尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系不如西方的散文和中国的对应定义密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 15:35, 27 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it &amp;quot;Chinese&amp;quot;? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.&lt;br /&gt;
&lt;br /&gt;
除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)&lt;br /&gt;
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除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)&lt;br /&gt;
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除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
This can be shown with Zheng Mingli, who subcategorises the &amp;quot;unfinished diary&amp;quot; or the &amp;quot;unfinished letter&amp;quot;.  Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works.  Only after they have been altered into essays (Zheng Mingli: &amp;quot;essay in diary form&amp;quot; and &amp;quot;essay in letter form&amp;quot;), they are accepted as essays.&lt;br /&gt;
&lt;br /&gt;
这一点可以从郑那里得到证明，他把“未完成的日记”或“未完成的信”分门别类。在西方语境中，这些文本属于个人使用的文本，因此属于非虚构的散文作品。只有当它们被改成散文(郑:“日记体散文”和“书信体散文”)后，它们才被接受为散文。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:07, 28 December 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
'''The Chinese understanding of the genre is tendencially broader'''&lt;br /&gt;
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This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén''  &amp;quot;non-rhythmic prose&amp;quot;, which originally meant all non-fictional prose.  In this broader meaning, also texts for personal or everyday use are included.  However I deal only with ''sanwen'' in the narrower meaning &amp;quot;short literary essay pieces&amp;quot;.  &lt;br /&gt;
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Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.&lt;br /&gt;
&lt;br /&gt;
'''中国人对这类体裁的理解区域广泛'''&lt;br /&gt;
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在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。&lt;br /&gt;
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更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
'''The Chinese essay is booming again in the 1980s and 1990s'''&lt;br /&gt;
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Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[	Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).&lt;br /&gt;
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20世纪80年代和90年代中国散文再次蓬勃发展&lt;br /&gt;
研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。&lt;br /&gt;
散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)&lt;br /&gt;
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'''二十世纪八九十年代中国散文再次蓬勃发展'''&lt;br /&gt;
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相关分析表明，1979年后散文出版量普遍增加，在文化大革命后达到了两次顶峰。1990年，散文出版量明显再创新高。散文出版量的第一次增长出现在二十世纪二三十年代。随后，报告文学的出现使得散文黯然失色(Klaschka 1998.)二十世纪二三十年代和八九十年代散文出版量之所以猛然增长，部分原因在于作为当代散文家写作阵地的新杂志和众多散文丛书的出现。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:48, 28 December 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
The increase in essay production  right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.&lt;br /&gt;
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Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.&lt;br /&gt;
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文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。&lt;br /&gt;
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感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
'''2. Why is the essay as abundant as fiction?'''&lt;br /&gt;
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Let me name a few reasons, why the essay  in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:&lt;br /&gt;
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- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection &amp;quot;Modern Chinese Literary Thought&amp;quot; 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry.  The poem is the genre of retreat from social life, from political issues and time references.&lt;br /&gt;
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为什么论文像小说一样丰富？&lt;br /&gt;
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让我列举几个原因，为什么这篇论文实际上与它的散文兄弟，小说以及抒情姐妹，诗歌一样丰富，以及为什么必须如此重视它：&lt;br /&gt;
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-这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以论文形式呈现 ）。 对文学反思和理论的影响在1996年的“中国现代文学思想”合集中显示。随笔类型，其直接语言，与生活之间的联系（例如，其在适应文化大革命中的作用）的影响， 并通过报纸直接接触个人读者。 这种影响大于小说或诗歌的间接影响。 这首诗是从社会生活，政治问题和时间参照中退缩的一种体裁。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:32, 27 December 2020 (UTC)&lt;br /&gt;
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为什么散文像小说一样丰富？&lt;br /&gt;
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让我举几个理由，为什么这篇文章实际上和它的散文兄弟、小说和它的抒情妹妹、诗歌一样丰富，为什么它必须被高度重视：&lt;br /&gt;
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这篇文章对中国社会产生了直接的影响（从清末到五四时期的改革思想，以鲁迅的文学理论和日常政治面貌，直到今天，大多以散文的形式呈现）。 对文学反思和理论的影响见1996年《中国现代文学思想集。 散文体裁与其直接语言的影响，它与生活的联系(例如。 它在接受文化革命方面的作用)，以及它通过报纸直接接触个人读者。 这种影响大于小说或诗歌的间接影响。 这首诗是从社会生活、政治问题和时间参考中退缩的体裁。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:49, 28 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.&lt;br /&gt;
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- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.&lt;br /&gt;
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胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。&lt;br /&gt;
&lt;br /&gt;
-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。&lt;br /&gt;
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- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)&lt;br /&gt;
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胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。&lt;br /&gt;
&lt;br /&gt;
-散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too.  The essay itself a genre of high actuality, if not simply the genre of today.&lt;br /&gt;
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- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society.  Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.&lt;br /&gt;
[[Media:Example.ogg]]==Li Lili 李丽丽==&lt;br /&gt;
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[	Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).&lt;br /&gt;
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“随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
'''3. Let us assign the essay its proper place'''&lt;br /&gt;
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place!  I will describe the beginnings of the discovery of the essay.&lt;br /&gt;
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.&lt;br /&gt;
&lt;br /&gt;
3.让我们为散文指定其适当的位置，&lt;br /&gt;
由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。&lt;br /&gt;
&lt;br /&gt;
3.让我们给作文赋予它应有的位置&lt;br /&gt;
从上面提出的论文的价值与价值之间的对比,由此得出的结论是:让我们给作文赋予它应有的位置!我将描述发现这篇文章的开始。尽管从1979年开始，散文写作有所增加，但有关这一现象的出现的第一次理论反思却花了10年时间。又过了10年，中国研究的国际学者才意识到这一现象。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Liqin 李丽琴==&lt;br /&gt;
&lt;br /&gt;
In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).&lt;br /&gt;
&lt;br /&gt;
20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).&lt;br /&gt;
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Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.&lt;br /&gt;
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在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。&lt;br /&gt;
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关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)&lt;br /&gt;
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上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th.  Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.&lt;br /&gt;
&lt;br /&gt;
Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.&lt;br /&gt;
在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。&lt;br /&gt;
然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)&lt;br /&gt;
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在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。&lt;br /&gt;
&lt;br /&gt;
然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays. &lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''&lt;br /&gt;
&lt;br /&gt;
I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.&lt;br /&gt;
&lt;br /&gt;
We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century. &lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.&lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.&lt;br /&gt;
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'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''&lt;br /&gt;
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How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.&lt;br /&gt;
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下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。&lt;br /&gt;
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5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。&lt;br /&gt;
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.&lt;br /&gt;
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From the very beginning, the essay was valued lower than poetry: the oldest reference  this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.&lt;br /&gt;
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这些注释与经典文学的不同之处在于它的非正式文体、个性与主体性的表现，其关于主体性的记载比中国第一部自传体小说《红楼梦》更早。&lt;br /&gt;
从一开始,这篇文章的价值被认为低于诗歌:我在罗大經(?1240- 1248年)中发现了最古老的参考术语“散文”(?从1240年- 1248年之后)声明:“诗骚妙天下，而散文颇觉琐碎局促。”--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 07:18, 28 December 2020 (UTC)&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.&lt;br /&gt;
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In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.&lt;br /&gt;
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“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。&lt;br /&gt;
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)&lt;br /&gt;
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“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。&lt;br /&gt;
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.&lt;br /&gt;
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In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters.  The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''. &lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience.  The individuality is still a main characteristic of the essay today.&lt;br /&gt;
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During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.&lt;br /&gt;
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荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。&lt;br /&gt;
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历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)&lt;br /&gt;
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荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。&lt;br /&gt;
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历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)&lt;br /&gt;
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荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。&lt;br /&gt;
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历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations.  However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.&lt;br /&gt;
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Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.&lt;br /&gt;
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边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。&lt;br /&gt;
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考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)&lt;br /&gt;
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边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。&lt;br /&gt;
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.&lt;br /&gt;
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Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the &amp;quot;Eight legged essay&amp;quot; as as appealing and intoxicating as the &amp;quot;pleasure of doing opium.'' (Zhou 1932:148).&lt;br /&gt;
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目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。&lt;br /&gt;
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 &amp;quot;八股文 &amp;quot;的语言节奏看作是 &amp;quot;做鸦片的快感 &amp;quot;一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)&lt;br /&gt;
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直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。&lt;br /&gt;
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前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).&lt;br /&gt;
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Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.&lt;br /&gt;
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但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。&lt;br /&gt;
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新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)&lt;br /&gt;
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但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。&lt;br /&gt;
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理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.&lt;br /&gt;
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'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''&lt;br /&gt;
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To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).&lt;br /&gt;
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梁启超研究出了一种新文体，这种文体受西方的语言所影响。但是这篇散文在报纸成为大众媒体之后才开始流行开来，成为所说的“白话”。&lt;br /&gt;
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6.散文作为现代化的媒介，质疑了中国散文的真实性。&lt;br /&gt;
首先要解决的问题就是中国散文是源自本土传统还是西方翻译，有人认为两者都有所相关:散文意外地以中文译文的形式受引入到1907年的文学改革运动作家群体中来。(林纾:欧文，1907，爱迪森，1911)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:12, 28 December 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).&lt;br /&gt;
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This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars.  Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin  1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971.  Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.&lt;br /&gt;
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然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)&lt;br /&gt;
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然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement.  All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934].  Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:&lt;br /&gt;
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以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。 这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。 后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)&lt;br /&gt;
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以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)&lt;br /&gt;
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以五四运动时期著名作家为例可以看出个人观点对史实叙述的影响有多大。所有这些作者把英文散文视为中国散文之父：周作人（1921），鲁迅（1933）以及后来的无政府主义者吴志辉（1934）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己关于中国散文来源的论断--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 07:52, 28 December 2020 (UTC)Meng Ying&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
for example, Lu Xun with his theory &amp;quot;'Zhǎnkāi' shuō yǔ  'méngyá' lùn “展開”說與“萌芽”論&amp;quot;&amp;quot; (Theory of &amp;quot;Starting&amp;quot; and &amp;quot;Blossoming&amp;quot;) came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his &amp;quot;Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論&amp;quot; (Theory of the Synthesis of the Gongan School and the English Essay).&lt;br /&gt;
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例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)&lt;br /&gt;
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例如，鲁迅的“展开”说与“萌芽”论认为晋代散文的攻击性与批判性是中国散文的先祖。周作人则将英语散文视为明朝“笔记”的先祖，在公安派英国小品“合成”论中，他努力使英文散文与他的理论合成一体。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:44, 28 December 2020 (UTC)&lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay.  One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.&lt;br /&gt;
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王曾祺遗憾的是，“五四”时期的中国民族散文传统没有重新开始，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的任何理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:29, 28 December 2020 (UTC)&lt;br /&gt;
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王曾祺遗憾的是，“五四”时期的中国民族散文传统没有被拾起，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的所有理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:09, 28 December 2020 (UTC)&lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller  (1924), he was critizised as &amp;quot;paralyzing&amp;quot; (Lu Xun 1934, Zhu Zhaoluo 1943).  When he wrote a piece on the &amp;quot;Fly&amp;quot;, he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins &amp;quot;Thoughts&amp;quot; (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.&lt;br /&gt;
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当周作人表明在马可波罗桥事件发生仅七个月后，又有可能写出一个糖果卖主（1924年）时，他被人批评为“瘫痪者”（鲁迅1934年，朱兆罗1943年）。 当他写了一篇关于“苍蝇”的文章时，他在处理次要主题上受到指责。 由于边际主义对论文是实质性的，因此这种谴责在于该类型的本质。 提到的罗大经的正式谴责可以在1990年代再次发现。香港学生批评巴金斯的《思想》（Suixiang lu）中出现的文学风格太过直接和太过狡猾。 但是这种观点并没有认识到本文的本质，它是作者思想的一种非常个性化的表达，并不局限于传统，因此在内容上也更加自由。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 07:32, 28 December 2020 (UTC)Ma Shuya&lt;br /&gt;
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当周作人表明在马可波罗桥事件发生仅七个月后，又有可能写出一个糖果卖主（1924年）时，他被人批评为“瘫痪者”（鲁迅1934年，朱兆罗1943年）。 当他写了一篇关于“苍蝇”的文章时，他在处理次要主题上受到指责。 由于边际主义对论文是实质性的，因此这种谴责在于该类型的本质。 20世纪90年代又出现了已经提到过的罗大经的正式谴责。香港学生批评巴金斯的《思想》（Suixiang lu）中出现的文学风格太过直接，不够优美。 但是这种观点并没有认识到本文的本质，它是作者思想的一种非常个性化的表达，并不局限于传统，因此在内容上也更加自由。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 07:44, 28 December 2020 (UTC)Nie Xiaolou&lt;br /&gt;
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==Ma Zhixing 马智星==&lt;br /&gt;
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.&lt;br /&gt;
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The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming &amp;quot;needs&amp;quot; of society, which also claimed the author to be one of its products.&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is &amp;quot;a genre of self-reflection&amp;quot;. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. &lt;br /&gt;
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I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).&lt;br /&gt;
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就其本质而言，散文为自己的形式和内容设定了新的界限，所以，不仅不受意识形态的限制，而且为自己建立了自己的批判性亚文化。散文不仅是我们今天讨论的媒介和社会政治背景的证明，而且也是作者在变化环境中进行个人奋斗的证明，因为散文是进行自我反省的体裁.一些散文甚至通过直接用主观的经历，现实和艺术解构，主导叙事。像左翼的意识形态。&lt;br /&gt;
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这里我想提下文学中的另一个作用，即强调文学对生活的影响，特别是濒临改革的时候，以这个视角来看的话，所有文学都是政治的(Jameson) 。--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 07:48, 28 December 2020 (UTC)Meng Ying&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him  spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.&lt;br /&gt;
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除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
In 1927, Chinese literature has taken the form of 'engaged literature'.   The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. &lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses.  The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &amp;quot;art pourt l'art&amp;quot;.&lt;br /&gt;
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尽管20世纪80年代见证了有关社会最好体系的政治问题的复兴，（也有关于文学和电影的）20世纪90年代又出现了一种仅仅不是政治性的、但却有关哲学道德的主题谱，散文家们把他们的角色首先定义为大众的消费倾向的对等物。散文似乎是中国唯一一种保持其教育主张的文体，但自称为“为艺术而艺术”的散文除外。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 08:02, 28 December 2020 (UTC)Nie Xiaolou&lt;br /&gt;
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==Ou Rong 欧蓉==&lt;br /&gt;
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&amp;quot;Shuo meng 說夢&amp;quot; On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, &amp;quot;The Fly&amp;quot; 1924, &amp;quot;Reading on the Toilet&amp;quot; 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.  This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove.  This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.&lt;br /&gt;
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我提到了缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，认为许多中国散文只是用于宣传。这一点在20世纪40年代甚至50年代可能是正确的，但现在这种情况已经发生了变化，绝大多数出版物都证明了这一点。这就要求我们仔细观察：自1949年以来，政府一直鼓励政治上的肯定性文学，这就造成了一个统计上的悖论：90年代阅读的大多数散文家并不是肯定的作者和他们的文本，而是批评的散文家，他们的文本反对通过非政治性为政治服务的秩序，有时甚至是具有挑衅的特征。--[[User:OUYANGJINGLAN|OUYANGJINGLAN]] ([[User talk:OUYANGJINGLAN|talk]]) 07:54, 28 December 2020 (UTC)OuYang Jinglan&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts.  Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.&lt;br /&gt;
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Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.&lt;br /&gt;
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20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。&lt;br /&gt;
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考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)&lt;br /&gt;
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20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。&lt;br /&gt;
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一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
'''Zhou Zuoren'''&lt;br /&gt;
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I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius &amp;quot;degenerated&amp;quot; and later became a &amp;quot;traitor&amp;quot;. Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.&lt;br /&gt;
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我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。 原因不在于文学品质，而在于政治价值。 周作人是五四理论天才的“堕落”，后来成为“叛徒”。 在日本赞助的《回忆》、《中国文学》等杂志上发表，他与朱璞、袁熙的合作受到指责。 一个没有回答的问题是为什么另一位在那里发表文章的作者张爱玲从来没有受到过合作者的指责。 两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:44, 28 December 2020 (UTC)&lt;br /&gt;
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周作人&lt;br /&gt;
我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。 原因不在于其作品的文学品质，而在于政治价值。中华人民共和国官方文学史对周作人的主要理论叙述是，周作人是五四天才的“堕落”，后来成为“叛徒”。在日本赞助的杂志《回忆录》和《中国文学》上发表的著作中，他与朱璞、袁熙的合作受到指责。 一个没有回答的问题是为什么在那里发表文章的另一位作者张爱玲从来没有因为合作而受到指责。 两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 07:19, 28 December 2020 (UTC)&lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority.  The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them.  Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''&lt;br /&gt;
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''Yu Guangzhong's essay'' &amp;quot;The wolves are coming&amp;quot; ''shows that the ideological perspective did not only harm mainland essaywriting.''&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space.  The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921). &lt;br /&gt;
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In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?&lt;br /&gt;
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周作人在他的文学小品中，试图将日常生活中的小事从私人空间的主观体验中审美化。 周作人的主要贡献在于，他以号召写短篇文艺作品（《美文》1921），开创了中国散文写作的转折点。&lt;br /&gt;
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在外国文学中，有所谓''lunwen''论文，大致分为两类：反映的，管批评的，是科学文章。其他的是''jishu''记述（描述性）和''yishuxing''艺术性，它们也被称为''meiwen''美文。在这些文章中，我们可以区分''xushi''敘事和''shuqing''抒情。但也有混杂的文字。[......]我希望美学文章受到鼓励，能够回来，为《新文学》开辟一个新的领域。那岂不妙哉？&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
With these words from the essay &amp;quot;''The aesthetic essay''&amp;quot; this new vernacular form was defined.  This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the &amp;quot;king of essays&amp;quot;. &lt;br /&gt;
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In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to &amp;quot;treat children as full subjects with their own external and internal lives&amp;quot; and to &amp;quot;make children the essence of children's literature&amp;quot; (Zhou 1923).  He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.&lt;br /&gt;
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“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。&lt;br /&gt;
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为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。 他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)&lt;br /&gt;
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“美学散文”中的这些词语定义了这种新的白话形式。这在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。&lt;br /&gt;
&lt;br /&gt;
为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。 他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 07:35, 28 December 2020 (UTC)Ma Shuya&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque  130 years ago in France for the idea &amp;quot;l'art pour l'art&amp;quot; , for individuality and independance  of the writer, for disinterested literature.  The jugdment, that Zhou was an apolitical author cannot be proved with his essays.  Instead, he wanted his abstinence of political statement to be understood as a political statement by itself.  For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181). &lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life.  His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual. &lt;br /&gt;
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&amp;quot;I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless &amp;quot;monsters&amp;quot; and &amp;quot;goblins&amp;quot; are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown.&amp;quot;&lt;br /&gt;
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事实上，在他被谋杀后，他的司机丧生，他将自己视为“爱国地下战士”，并视同日本伪政权之间的合作被视为强制性。他自己的散文写作概念满足了建立一个民族国家的需求，并且更接近个人的理想。&lt;br /&gt;
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“我真的不知道为什么，但是我感觉好像我出生在一个黑暗的时代。我承认，我们的森林里没有龙，虎和狼居住，但是无形的“怪物”和“妖精”仍然存在到处走动，并试图吞噬我们的灵魂。[...]最让我震惊的是，这所监狱中缺乏自由，我们作家被扔了进去。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 07:58, 28 December 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
Confronting tradition and progress in the essay &amp;quot;''Ancestor Worship''&amp;quot;, he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8). &lt;br /&gt;
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Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.&lt;br /&gt;
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面对“祖先崇拜”中的传统和进步，他赞成后者，因为过去只能通过变化才能变成现在(周1919：7-8)。&lt;br /&gt;
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本杰明·亨利·康斯坦德·丽贝卡(Benjamin Henri Constant de Rebecca，1767-1830)是一位法国小说家和自由主义政治家，除了法国大革命后的艺术自由外，他还呼吁引入以英国模式为基础的君主立宪制。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:39, 28 December 2020 (UTC)&lt;br /&gt;
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在“祖先崇拜”一文中，他面对传统和进步，他赞成后者，因为过去只有通过变革才能成为现在(Zhou 1919:7-8)。&lt;br /&gt;
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本杰明·亨利·康斯坦·德·雷贝克(1767 - 1830)是法国的自由主义政治家和自由主义政治家，英国的君主制和革命都没有改变。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 07:58, 28 December 2020 (UTC)&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
Siehe ''Journal'' (10.2.1804). Die &amp;quot;Kunst um der Kunst willen&amp;quot; propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept &amp;quot;Kunst um der Kunst willen&amp;quot; zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.&lt;br /&gt;
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Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: &amp;quot;''Liang Qichao on Poetry Reform''&amp;quot; 1996, Bd 1, S. 213.&lt;br /&gt;
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见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.&lt;br /&gt;
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参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)&lt;br /&gt;
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==Quan Meixin 全美欣==&lt;br /&gt;
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938.  In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had &amp;quot;duoluo 墮落&amp;quot; (degenerated) at that time (Zhu Jinshun 1990:59).  In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'. &lt;br /&gt;
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On the basis of the stigma of the 'traitor', he has been undervalued until now.  That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.&lt;br /&gt;
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因此，不是日本的压制者对这位伟大作家的退缩负责，而是他的中国同胞的退缩.&lt;br /&gt;
根据“叛徒”的污名，他一直被低估。他在1990年代的著作几乎与鲁迅和朱自清的著作一样频繁地出版，这表明他的著作最终在听众中得到了更为积极的文学评价，现在也必须由学者进行注册.&lt;br /&gt;
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因此，不是日本侵略者造成了这位伟大作家的退缩，而是他的中国同胞们。由于背负着“叛徒”的污名，他一直未受到重视。20世纪90年代，他的作品出版频繁，几乎与鲁迅和朱自清等同，这表明这些作品在读者中收到了更为积极的评价，这一点也获得了当代学者的认可。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:47, 28 December 2020 (UTC)&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
Another example of a misread Zhou Zuoren is his short essay on &amp;quot;''The Fly''&amp;quot;,  where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases.  ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them.  Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things. &lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
The official reading re¬proaches Zhou that he &amp;quot;saw only the fly and not the cosmos&amp;quot; , a quotation of the young Zhou about a position he himself clearly opposed.&lt;br /&gt;
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His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”.  In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food. &lt;br /&gt;
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Siehe Zhou Zuoren: &amp;quot;Cangying 蒼蠅&amp;quot; (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.&lt;br /&gt;
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''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay &amp;quot;''Cangying'' 蒼蠅&amp;quot; (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）&lt;br /&gt;
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官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。&lt;br /&gt;
他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.&lt;br /&gt;
&lt;br /&gt;
他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Song Jianru 宋建茹==&lt;br /&gt;
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.&lt;br /&gt;
&lt;br /&gt;
'''7. The essay as a snapshot of contemporary thoughts'''&lt;br /&gt;
&lt;br /&gt;
''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''&lt;br /&gt;
&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth.  But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously.  This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society.  In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: &amp;quot;''Anxiang'' 安详&amp;quot; (Serene) 1992, &amp;quot;''Zuohao ni ziji de shi'' 做好你自己的事&amp;quot; (First make your own things in a good way) 1994). &lt;br /&gt;
==Tan Xinjie 谭鑫洁==&lt;br /&gt;
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.&lt;br /&gt;
&lt;br /&gt;
Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (&amp;quot;''Shanxi opera''&amp;quot;, Jia Pingwa 1984) or negative world (&amp;quot;''The nightmare''&amp;quot;, Si Yu 1995).&lt;br /&gt;
&lt;br /&gt;
From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:&lt;br /&gt;
&lt;br /&gt;
这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。&lt;br /&gt;
20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。&lt;br /&gt;
从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。&lt;br /&gt;
20世纪80年代和90年代的其他散文是一种新的个人主义，其目标是远离当代的矛盾，但通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。&lt;br /&gt;
从这篇文章中，我们可以看到文学的时代趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:44, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii); &lt;br /&gt;
&lt;br /&gt;
- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands; &lt;br /&gt;
&lt;br /&gt;
- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.&lt;br /&gt;
&lt;br /&gt;
- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.&lt;br /&gt;
&lt;br /&gt;
- 当下中国社会的浮躁节奏，对转折性和短文的要求。&amp;quot;[...]我们生活在一个论述的时代&amp;quot;(Hall 1984:xiii)。&lt;br /&gt;
&lt;br /&gt;
- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。&lt;br /&gt;
&lt;br /&gt;
- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。&lt;br /&gt;
&lt;br /&gt;
- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；&lt;br /&gt;
&lt;br /&gt;
-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；&lt;br /&gt;
&lt;br /&gt;
-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。&lt;br /&gt;
&lt;br /&gt;
-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Bei 汤蓓==&lt;br /&gt;
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928.  This observation is supported by the results of the mentioned statistical analysis.  The mostly read political essays after 1949 are critical essays.   &lt;br /&gt;
&lt;br /&gt;
- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.&lt;br /&gt;
&lt;br /&gt;
- 中国社会的去意识形态化。如今在最前列的不是政府要求的平权文，而是非政治性的文章，大多是民国时期的文章，特别是1923年至1928年的。上述统计分析的结果也支持这一观点。1949年以后的政论文多为批评性散文。&lt;br /&gt;
&lt;br /&gt;
- 关于散文集的编纂：对于中华人民共和国、台湾和香港最常被选中的文集来说，道德和审美标准似乎是其基础。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:19, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: &amp;quot;readers&amp;quot;). &lt;br /&gt;
&lt;br /&gt;
- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay &amp;quot;''The Back View''&amp;quot;, filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous &amp;quot;''The Moonlit Lotus Pond''&amp;quot;, both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.&lt;br /&gt;
==Tang Yiran 汤伊然==&lt;br /&gt;
Nostalgic home feelings are the emotional identification element in &amp;quot;''Wild vegetables of my home region''&amp;quot; by Wang Zengqi.  Therefore one can state, that moving es¬says form the top.&lt;br /&gt;
&lt;br /&gt;
- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''&lt;br /&gt;
&lt;br /&gt;
乡愁是汪曾祺《家乡的野菜》中的情感认同元素。因此可以说，动人的散文构成了上。&lt;br /&gt;
&lt;br /&gt;
- 在90年代后半期，在日趋形式化但实质上空虚的城市生活中，作者自己似乎也迷失在个体的主体性和日常的亵渎性与平庸性中。时间失去了价值，因为越来越多的日常活动被机械和自闭的行为所充斥。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:09, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).&lt;br /&gt;
&lt;br /&gt;
- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness  ''since'' 1995, ''cannot be pro-ven in the essaywriting.  ''&lt;br /&gt;
&lt;br /&gt;
- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being &amp;quot;''The Small Dog Baodi''&amp;quot;, written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (&amp;quot;''In memoriam of Xiao Shan II''&amp;quot;, Ba Jin 1984).&lt;br /&gt;
&lt;br /&gt;
另外像1993年以来的小说（贾平凹、飞渡；顾城、莺歌）和1995年以来的《新无界》中发现的普通语言的使用趋势，也不能在散文写作中得到证明。&lt;br /&gt;
&lt;br /&gt;
- 另外，王德威在老舍、茅盾、沈从文身上看到的小说现实主义，也证明了对一些文章的理解是有帮助的，其中之一是1981年巴金写的《小狗包弟》，作者变成了一个叙述者，用寓言式而不是像以前那样用描述式的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:46, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's &amp;quot;''Rain in Kunming''&amp;quot; as well as for Jia Pingwa's &amp;quot;''Shanxi opera''&amp;quot;.  &lt;br /&gt;
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。&lt;br /&gt;
&lt;br /&gt;
- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.&lt;br /&gt;
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。&lt;br /&gt;
&lt;br /&gt;
Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay &amp;quot;The nightmare&amp;quot;, where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong &amp;quot;woman soldier&amp;quot; .（文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''&lt;br /&gt;
&lt;br /&gt;
Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.&lt;br /&gt;
&lt;br /&gt;
- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?&lt;br /&gt;
&lt;br /&gt;
8. 讨论：在21世纪中国，散文体裁是文学表达形式么？&lt;br /&gt;
&lt;br /&gt;
关于中国文学的未来，我们只能猜测。但除开可能会变得狂热和具有挑衅性的危险外，我想就散文在中国文学和文学研究领域的地位提些问题。&lt;br /&gt;
人们很少有时间去阅读，并且习惯于网上简略的可视信息。散文的精简会使其成为一个理想的媒介么？--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:40, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
8. 讨论：在21世纪中国，散文体裁是文学表达形式么？&lt;br /&gt;
&lt;br /&gt;
关于中国文学的未来，我们只能猜测。但出于狂妄和挑衅的风险，我想提出一些问题，以考虑散文在中国文学和文学研究领域的地位。&lt;br /&gt;
&lt;br /&gt;
- 人们阅读等行动的时间少了，也习惯了通过网络减少视觉化的信息。散文的简洁性是否会使其成为理想的媒介？--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:49, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?&lt;br /&gt;
&lt;br /&gt;
- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?&lt;br /&gt;
&lt;br /&gt;
==Wei Honglang 韦洪朗==&lt;br /&gt;
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?&lt;br /&gt;
&lt;br /&gt;
- 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录&lt;br /&gt;
&lt;br /&gt;
'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）&lt;br /&gt;
&lt;br /&gt;
吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University&lt;br /&gt;
&lt;br /&gt;
Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.&lt;br /&gt;
&lt;br /&gt;
Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide. &lt;br /&gt;
&lt;br /&gt;
摘要&lt;br /&gt;
&lt;br /&gt;
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它生长于现有文学之中，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次的德语全译本。&lt;br /&gt;
&lt;br /&gt;
曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 07:03, 28 December 2020 (UTC)Wei yafei&lt;br /&gt;
&lt;br /&gt;
在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。&lt;br /&gt;
&lt;br /&gt;
曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.&lt;br /&gt;
&lt;br /&gt;
红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）&lt;br /&gt;
&lt;br /&gt;
多元一体&lt;br /&gt;
&lt;br /&gt;
'''Key words'''&lt;br /&gt;
&lt;br /&gt;
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage&lt;br /&gt;
&lt;br /&gt;
“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;）&lt;br /&gt;
&lt;br /&gt;
多元一体&lt;br /&gt;
&lt;br /&gt;
'''Key words'''&lt;br /&gt;
&lt;br /&gt;
Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage&lt;br /&gt;
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)&lt;br /&gt;
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《红楼梦》是一个中国文化的综合体，它展示着中国文化的精髓并极具全球影响力，因此它应该被列入世界记忆文献遗产名录。&lt;br /&gt;
关键词&lt;br /&gt;
西方文化，传统保护，德国翻译，中国文化具像化表现，全球兼容，世界遗产文献&lt;br /&gt;
--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 07:10, 28 December 2020 (UTC)Wei yafei&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
'''1. Chinese Ethics'''&lt;br /&gt;
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To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.&lt;br /&gt;
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When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.&lt;br /&gt;
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However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
'''2. Compatibility&lt;br /&gt;
'''&lt;br /&gt;
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?&lt;br /&gt;
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First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.&lt;br /&gt;
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'''2. 兼容性&lt;br /&gt;
'''&lt;br /&gt;
为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？&lt;br /&gt;
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首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.&lt;br /&gt;
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'''3. Impact of translator’s native culture on the translation process'''&lt;br /&gt;
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There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.&lt;br /&gt;
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然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。&lt;br /&gt;
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'''3.译者的本土文化对翻译过程的影响'''&lt;br /&gt;
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《红楼梦》和西方文学作品之间有跨文化的相似之处。&lt;br /&gt;
--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.&lt;br /&gt;
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'''4. The novel as embodiment of “Zeitgeist”'''&lt;br /&gt;
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According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.&lt;br /&gt;
==Wu Xiang 邬香==&lt;br /&gt;
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist). &lt;br /&gt;
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小说作为一种文学题材不再仅仅记录一种文化，而是用沃尔特·本杰明的话来代表历史的有机物。因此，卢卡奇对这部小说的理解从历史转向哲学。一部小说被理解为其历史时代的典型小说，这部小说会体现时代精神（时代精神）。&lt;br /&gt;
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The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.&lt;br /&gt;
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《红楼梦》是在满族统治原汉族掌管的明朝（当时是一个多民族、跨文化的社会）和贵族家庭遭受皇位更迭影响的背景下写成的，曹氏家族受到康熙的扶植和雍正的迫害。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:04, 27 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).&lt;br /&gt;
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虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)&lt;br /&gt;
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虽然作者在他的时代无法批判帝制和皇权，但在小说中，他为家族的日益衰败（参加道教、娱乐、诗歌、艺术和音乐活动，而不是为了谋生而学习）和自己作为家族继承人没有实现家族期望感到自责，通过这样做，他也对这种生活做妥协。这种对没落家族颓废状况的描写，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 15:08, 27 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.&lt;br /&gt;
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'''5. Coming-of-age and Alienation'''&lt;br /&gt;
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Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.&lt;br /&gt;
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此外，《红楼梦》对清初社会各阶层生活的详细描写，与君特·格拉斯的《铁皮鼓1959》非常相似，《铁皮鼓1959》是一部纪实历史小说。&lt;br /&gt;
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“5. 成熟和异化”&lt;br /&gt;
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抛弃《红楼梦》中天堂般的花园，是离开受保护的童年，进入复杂的成人世界的象征。随着乔治·卢卡奇的小说理论，主人公开始对他的生活感觉产生疑问，在小说中，主人公的自我一直与他的环境作斗争。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:23, 27 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.&lt;br /&gt;
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然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。 尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作 在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。 虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.&lt;br /&gt;
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曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 &amp;quot;时间精神&amp;quot;(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)&lt;br /&gt;
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曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.&lt;br /&gt;
这种成熟的传统小说也是一个欧洲人,像启蒙哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:34, 27 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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这种成熟的传统小说也是一个欧洲人,像启蒙运动哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759年)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙运动哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 04:33, 28 December 2020 (UTC)&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).&lt;br /&gt;
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德国读者对主人公的生平及其发展、家族世代的命运都很熟悉，德国读者把这种类型的小说称为“教育小说”或“成长小说”。在德国,关于成长小说的体裁有着悠久的传统,它的形状更由单个字符,它更多的是被塑造为教师的单个人物(歌德：'Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802)。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 14:59, 27 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''. &lt;br /&gt;
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'''6. Pornography and True Love, female rivals'''&lt;br /&gt;
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Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.&lt;br /&gt;
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与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。&lt;br /&gt;
“6.色情与真爱，女性对手&amp;quot;&lt;br /&gt;
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)&lt;br /&gt;
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与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。&lt;br /&gt;
“6。色情与真爱，女性对手&amp;quot;&lt;br /&gt;
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
In the barock literature of the 17th century even the physical act is described extensively. &lt;br /&gt;
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According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.&lt;br /&gt;
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The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).&lt;br /&gt;
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在17世纪的Barock文学中，甚至对物理行为也进行了广泛的描述。&lt;br /&gt;
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根据“累积性”，每个人都是历史的产物，而文学是基于先前的文献，因此，该传呼机的作者认为翻译时必须考虑这一背景。&lt;br /&gt;
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关于梦中清情的最好的研究是安东尼·于（Anthony Yu）的研究，他将其理解为欲望和梦的中心主题。 “清香在塑造《石头的故事》的结构和意义的几乎每个方面的中心作用都不能否认。”（Anthony Yu 2001，54）。&lt;br /&gt;
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--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 07:52, 28 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).&lt;br /&gt;
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In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”&lt;br /&gt;
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Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.&lt;br /&gt;
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在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。&lt;br /&gt;
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在第一章中，他说：&amp;quot;年轻人的真情实感......至今无人报道&amp;quot;。&lt;br /&gt;
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&amp;quot;情色场面以体面和联想的方式描述（&amp;quot;云和雨的游戏&amp;quot;），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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在《梦》的框架故事中，叙述者有意识地反对低俗的动作和陈规定型的色情文学，反对流传甚广的浪漫小说（以美丽的才女和通过公务员制度最终获得受人尊敬的地位的穷困书生为经典角色）。&lt;br /&gt;
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在第一章中，他说：“关于年轻人的真实感受，[……]到目前为止还没有人报道过。”&lt;br /&gt;
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情色场景被描述成一个体面和联想的方式（“云和雨的游戏”），同时显示了另一个开放性的性质，例如对双性恋。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:03, 27 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.&lt;br /&gt;
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While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.&lt;br /&gt;
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《梦》讲述了一对不幸的恋人的故事。 在西方，不幸恋人也有文学传统，即他们构成了一个原型，例如Hero和Leander，Pyramus和Thisbe，Tristan和Isolde，Flore和Blanscheflur以及Troilus和Cressida，后者被认为是Arthur Brookes的模型，他在1562年撰写了《罗密欧与朱丽叶》，从而直接影响了莎士比亚。&lt;br /&gt;
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玛丽安·加利克（Mariann Galik）认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:25, 28 December 2020 (UTC)&lt;br /&gt;
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这些梦讲述了一对不幸的恋人的故事。不幸的恋人也有西方文学的传统,他们构成一个原型,如英雄和利安得、皮拉摩斯和提斯柏,特里斯坦与伊索尔德,凝花和Blanscheflur特洛伊罗斯和克雷西达,后者被认为是阿瑟·布鲁克斯的模型,他在1562年写了《罗密欧与朱丽叶》,从而直接影响了莎士比亚。&lt;br /&gt;
玛丽安·加利克认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 07:23, 28 December 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry''  《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).&lt;br /&gt;
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在歌德的成长小说''Wilhelm Meisters Wanderjahre''中，我们发现了类似的女性竞争主题，在凯勒''The Green Henry''（《绿衣亨利》1855）中，男主人公父亲早亡，母亲养育其成人。在简-奥斯汀的''Pride and Prejudice''（《傲慢与偏见》1813）中，伊丽莎白和林黛玉是相似的，比如她们都追求真爱（庄2011）。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 03:38, 28 December 2020 (UTC)&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
'''7. Feudal society and slavery'''&lt;br /&gt;
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A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.&lt;br /&gt;
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封建社会和奴隶&lt;br /&gt;
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)&lt;br /&gt;
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许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)&lt;br /&gt;
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人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.&lt;br /&gt;
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另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”， 所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.&lt;br /&gt;
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2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting&lt;br /&gt;
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2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
'''8. Tragedy of all tragedies'''&lt;br /&gt;
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Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.&lt;br /&gt;
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8.所有悲剧的悲剧成分&lt;br /&gt;
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亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。 欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)&lt;br /&gt;
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8.所有悲剧含有的悲剧成分&lt;br /&gt;
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亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as &amp;quot;tragedy of all tragedies&amp;quot;. To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture. &lt;br /&gt;
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In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.&lt;br /&gt;
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尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。&lt;br /&gt;
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在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)&lt;br /&gt;
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欧洲悲剧中以《哈姆雷特》为悲剧，而中国文学传统中悲剧文学的缺失，长期以来被人们所惋惜。王国维认为《梦》是“所有悲剧中的悲剧”。对王国维来说，浮士德和贾宝玉的苦难是小说的中心。然而，许多学者认为浮士德主义是中国文化的核心。&lt;br /&gt;
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在18世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:36, 27 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.&lt;br /&gt;
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它作为一场解放运动在18世纪的伦敦、巴黎和德国发展起来，并证明了悲剧并非只发生在统治者身上，也可能发生在下层贵族和普通公民身上。《梦》与欧洲资产阶级悲剧同时上演，讲述的是一个中层贵族家庭失去头衔和特权的悲剧故事。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:31, 28 December 2020 (UTC)&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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'''9. “Non-Binary” Novels'''&lt;br /&gt;
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One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.&lt;br /&gt;
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9. “非二进制小说”&lt;br /&gt;
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可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。 他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)&lt;br /&gt;
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“非二元”小说&lt;br /&gt;
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一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.&lt;br /&gt;
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.&lt;br /&gt;
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随着梦中主人公的双性取向，小说呈现出非二元性。&lt;br /&gt;
卡尔·海因茨·波尔认为，二进制只是表面现象，最终起决定性作用的是“心经”。今天，这部小说被列为非二元文学的一个流派（参见https://www.goodreads.com/list/tag/non-binary)，其中的反差被解构主义地化解了。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:01, 28 December 2020 (UTC)&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
'''10. Foreign Cultures in the Red Chamber Dreams'''&lt;br /&gt;
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Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.&lt;br /&gt;
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10.红楼梦中的异邦文化&lt;br /&gt;
红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并以新奇用品的形式呈现给贾府，尤其是提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，其中一次是为有翅膀的天使的形象。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:47, 27 December 2020 (UTC)&lt;br /&gt;
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10.红楼梦中的异邦文化&lt;br /&gt;
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红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并是以新奇的形式呈现给贾府的，尤其是其中提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，有一次是以带翅膀的天使的形象出现。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:36, 28 December 2020 (UTC)&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.&lt;br /&gt;
我们在描述宗教服饰时也能见识不同传统的玩味结合，它带有不同宗教的特点。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，这也与小说的诸多题材和社会层面有关。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，贾宝玉消失，这些都与耶稣基督平行。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:10, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
宗教服饰带有不同宗教的特点，在描述一种宗教服饰时，我们也能体味不同宗教传统的玩味结合。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，同时也要展现出小说的众多主题和社会层次。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，以及贾宝玉消失的时候，这些都与耶稣基督平行。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:43, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yi Huan 易欢==&lt;br /&gt;
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”. &lt;br /&gt;
&lt;br /&gt;
'''References'''（参考文献不用翻译）&lt;br /&gt;
&lt;br /&gt;
Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.&lt;br /&gt;
&lt;br /&gt;
Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition&lt;br /&gt;
&lt;br /&gt;
Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289&lt;br /&gt;
&lt;br /&gt;
Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107&lt;br /&gt;
&lt;br /&gt;
Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext:   http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.&lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
'''Virtual Communication Between Machines with the Human as Their Object&lt;br /&gt;
'''&lt;br /&gt;
&lt;br /&gt;
A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication&lt;br /&gt;
&lt;br /&gt;
Martin Woesler, Hunan Normal University&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
机器之间以人为对象的虚拟通信&lt;br /&gt;
&lt;br /&gt;
口头，书面，印刷，电子和人机交流之后的多模式交流进入新阶段&lt;br /&gt;
&lt;br /&gt;
湖南师范大学马丁·沃斯勒&lt;br /&gt;
&lt;br /&gt;
摘要&lt;br /&gt;
&lt;br /&gt;
卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。&lt;br /&gt;
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:33, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）最终到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:05, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.). &lt;br /&gt;
&lt;br /&gt;
Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.&lt;br /&gt;
&lt;br /&gt;
本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。&lt;br /&gt;
&lt;br /&gt;
算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。&lt;br /&gt;
&lt;br /&gt;
算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yu Ni 余妮==&lt;br /&gt;
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society. &lt;br /&gt;
&lt;br /&gt;
这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.&lt;br /&gt;
&lt;br /&gt;
研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 &amp;quot;Schufa&amp;quot;，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Yuchen 袁雨晨==&lt;br /&gt;
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.&lt;br /&gt;
&lt;br /&gt;
'''Introduction'''&lt;br /&gt;
&lt;br /&gt;
In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。&lt;br /&gt;
&lt;br /&gt;
引言&lt;br /&gt;
&lt;br /&gt;
本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。&lt;br /&gt;
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。&lt;br /&gt;
&lt;br /&gt;
引言&lt;br /&gt;
&lt;br /&gt;
在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 &amp;quot;牛奶没了，请把平时的牛奶量加到送货单上&amp;quot;，到 &amp;quot;老太太今天早上还没下床，我还是叫医生吧&amp;quot;。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting&lt;br /&gt;
&lt;br /&gt;
==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”&lt;br /&gt;
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
相反，我处理沟通的方式是这样的。&amp;quot;让我们建立一个用户个性化主界面，并与大数据进行对比，学习如何才能最好地吸引这个用户的注意力，让他/她投给总统候选人A或B&amp;quot;；&amp;quot;让我们检查这个用户的浏览记录，并与大数据进行对比，建立关联，估计他是否（如果 &amp;quot;是 &amp;quot;什么时候）会得帕金森，以决定是否拒绝他的贷款或健康保险。&amp;quot;--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:35, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Liang 曾良==&lt;br /&gt;
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”&lt;br /&gt;
&lt;br /&gt;
The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.&lt;br /&gt;
&lt;br /&gt;
“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”&lt;br /&gt;
&lt;br /&gt;
当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。&amp;quot;；甚至&amp;quot;利用这个用户的位置来瞄准杀手无人机。&amp;quot;&lt;br /&gt;
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting&lt;br /&gt;
&lt;br /&gt;
“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”&lt;br /&gt;
&lt;br /&gt;
当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.&lt;br /&gt;
&lt;br /&gt;
这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
'''1 History of Media Epochs'''&lt;br /&gt;
&lt;br /&gt;
Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. &lt;br /&gt;
&lt;br /&gt;
This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).&lt;br /&gt;
&lt;br /&gt;
卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）&lt;br /&gt;
在所有这些阶段中，科技都只起到了协助作用。&lt;br /&gt;
&lt;br /&gt;
本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).&lt;br /&gt;
&lt;br /&gt;
虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times,  and we are therefore an object of analysis by algorithms.&lt;br /&gt;
&lt;br /&gt;
The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.&lt;br /&gt;
&lt;br /&gt;
但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。&lt;br /&gt;
&lt;br /&gt;
交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。&lt;br /&gt;
&lt;br /&gt;
传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)&lt;br /&gt;
然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。&lt;br /&gt;
传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Ling 张玲==&lt;br /&gt;
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.&lt;br /&gt;
&lt;br /&gt;
机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.&lt;br /&gt;
&lt;br /&gt;
'''2 Types of communicative acts'''&lt;br /&gt;
&lt;br /&gt;
1.Texts (oral and written comments/chat texts/blogs/emails)&lt;br /&gt;
&lt;br /&gt;
2.Surf behavior (websites visited)&lt;br /&gt;
&lt;br /&gt;
3.Consumer behavior (purchases)&lt;br /&gt;
&lt;br /&gt;
4.Likes (see OCEAN, UEBA)&lt;br /&gt;
&lt;br /&gt;
5.Duration/Attention (see UEBA)&lt;br /&gt;
&lt;br /&gt;
6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)&lt;br /&gt;
甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;两种类型的交际行为&amp;quot;&lt;br /&gt;
&lt;br /&gt;
1.&lt;br /&gt;
文本(口头和书面评论/聊天文本/博客/电子邮件)&lt;br /&gt;
&lt;br /&gt;
2.&lt;br /&gt;
上网行为(浏览网站)&lt;br /&gt;
&lt;br /&gt;
3.&lt;br /&gt;
消费者行为(购买)&lt;br /&gt;
&lt;br /&gt;
4.&lt;br /&gt;
喜欢(参见OCEAN, UEBA)&lt;br /&gt;
&lt;br /&gt;
5.&lt;br /&gt;
持续时间/关注(见UEBA)&lt;br /&gt;
&lt;br /&gt;
6.&lt;br /&gt;
习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Qi 张琪==&lt;br /&gt;
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)&lt;br /&gt;
&lt;br /&gt;
8.social interaction incl. friendships, sexual relationships&lt;br /&gt;
&lt;br /&gt;
9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel  Behavior (Yu Cui et al. 2018)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）&lt;br /&gt;
&lt;br /&gt;
8.社交互动，包括 友谊，性关系&lt;br /&gt;
&lt;br /&gt;
9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
'''3 Types of analysis'''&lt;br /&gt;
&lt;br /&gt;
1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)&lt;br /&gt;
&lt;br /&gt;
2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)&lt;br /&gt;
&lt;br /&gt;
3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)&lt;br /&gt;
&lt;br /&gt;
4.Mobility profile/pattern&lt;br /&gt;
&lt;br /&gt;
'''3种分析类型'''&lt;br /&gt;
&lt;br /&gt;
1.概况（用户和实体行为分析:AI辅助的网络安全工具，如美国Gartner公司提供的）&lt;br /&gt;
&lt;br /&gt;
2.真实身份（例如:鼠标移动，人脸识别，查找真实姓名）（Verschuere，2016）&lt;br /&gt;
&lt;br /&gt;
3.个人简介:五大人格清单:开放体验，意识，外向，宜人，神经质海洋（Golbeck，2011），仅通过分析用户的喜好，脸书就可以生成个人简历（AI-Demand，2020）&lt;br /&gt;
&lt;br /&gt;
4..流动概况/模式&lt;br /&gt;
&lt;br /&gt;
==Zhang Xueyi 张雪仪==&lt;br /&gt;
5.Health situation (health apps, ai supported disease research, see Daley 2020)&lt;br /&gt;
&lt;br /&gt;
6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)&lt;br /&gt;
&lt;br /&gt;
5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)&lt;br /&gt;
&lt;br /&gt;
6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)&lt;br /&gt;
&lt;br /&gt;
6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==&lt;br /&gt;
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.&lt;br /&gt;
&lt;br /&gt;
8.Consumer Behavior: e.g. the &amp;quot;clickworker&amp;quot; company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)&lt;br /&gt;
&lt;br /&gt;
9.Secrets (like adultery)&lt;br /&gt;
&lt;br /&gt;
7.财务信誉度：例如,德国Schufa公司除使用人类专业知识外还使用AI进行评估,请参阅Banken科技2020。新闻中讨论了Schufa尝试访问客户的银行帐户转账信息的尝试。&lt;br /&gt;
&lt;br /&gt;
8，消费者行为：例如 在微软的帮助下，``clickworker''公司根据客户公司的目标/产品分析并优化了客户的搜索（clickworker 2019）&lt;br /&gt;
&lt;br /&gt;
9，秘密（如通奸）--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:59, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
'''4 Unique quality of media epoch 5.0'''[ 	I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]&lt;br /&gt;
&lt;br /&gt;
1.the human switches from active to passive&lt;br /&gt;
&lt;br /&gt;
2.the human switches from subject to object&lt;br /&gt;
&lt;br /&gt;
3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)&lt;br /&gt;
&lt;br /&gt;
4.the human switches from puppeteer, or entity with seemingly free will, to puppet&lt;br /&gt;
&lt;br /&gt;
5.nature of the internet turns from freedom to surveillance&lt;br /&gt;
&lt;br /&gt;
4.媒介5.0时代的独特品质 [我创造了 &amp;quot;媒介5.0时代&amp;quot;和 &amp;quot;虚拟通信 &amp;quot;这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]&lt;br /&gt;
&lt;br /&gt;
1.人从主动到被动的转换&lt;br /&gt;
&lt;br /&gt;
2.人从主体到客体的转换&lt;br /&gt;
&lt;br /&gt;
3.人沉迷于社交媒体，提高了患抑郁症的风险&lt;br /&gt;
&lt;br /&gt;
4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换&lt;br /&gt;
&lt;br /&gt;
5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yujie 张毓婕==&lt;br /&gt;
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)&lt;br /&gt;
&lt;br /&gt;
7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))&lt;br /&gt;
&lt;br /&gt;
8.man-man communication turns to man-machine communication (phone bot) to machine-machine&lt;br /&gt;
&lt;br /&gt;
9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration&lt;br /&gt;
&lt;br /&gt;
6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。&lt;br /&gt;
&lt;br /&gt;
7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。&lt;br /&gt;
&lt;br /&gt;
8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。&lt;br /&gt;
&lt;br /&gt;
9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.&lt;br /&gt;
&lt;br /&gt;
'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)&lt;br /&gt;
'''&lt;br /&gt;
&lt;br /&gt;
1.Priming by unconscious advertisements: Influencing consumer decisions&lt;br /&gt;
&lt;br /&gt;
2.Filter bubbles =&amp;gt; supports conspiracy theories, influences judgments&lt;br /&gt;
&lt;br /&gt;
到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。&lt;br /&gt;
&lt;br /&gt;
'''5 种操纵类型（有意识或无意识，有时是半意识的）'''&lt;br /&gt;
&lt;br /&gt;
1.无意识广告发布：影响消费者决策&lt;br /&gt;
&lt;br /&gt;
2.过滤泡沫=&amp;gt;支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).&lt;br /&gt;
&lt;br /&gt;
4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation&lt;br /&gt;
&lt;br /&gt;
5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)&lt;br /&gt;
&lt;br /&gt;
6.Identity theft&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。&lt;br /&gt;
&lt;br /&gt;
4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举 （这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜&lt;br /&gt;
&lt;br /&gt;
5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）&lt;br /&gt;
&lt;br /&gt;
6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。&lt;br /&gt;
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的&lt;br /&gt;
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）&lt;br /&gt;
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
'''6 Consequences'''&lt;br /&gt;
&lt;br /&gt;
1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)&lt;br /&gt;
&lt;br /&gt;
6.后果&lt;br /&gt;
&lt;br /&gt;
1.虚拟通讯大多是 &amp;quot;隐蔽 &amp;quot;的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 &amp;quot;危险 &amp;quot;而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
6.后果&lt;br /&gt;
&lt;br /&gt;
1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''6.后果&lt;br /&gt;
'''&lt;br /&gt;
&lt;br /&gt;
1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zheng Huajun 郑华君==&lt;br /&gt;
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery) &lt;br /&gt;
&lt;br /&gt;
3.Less will to communicate and discuss (since positions are too far apart)&lt;br /&gt;
&lt;br /&gt;
4.Populists and populist views gain supporters&lt;br /&gt;
&lt;br /&gt;
5.Polarization of Society&lt;br /&gt;
&lt;br /&gt;
6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.&lt;br /&gt;
&lt;br /&gt;
7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）&lt;br /&gt;
&lt;br /&gt;
3.交流讨论意愿较弱（因为立场相差太远）&lt;br /&gt;
&lt;br /&gt;
4.民粹主义者和民粹主义观点获得支持者&lt;br /&gt;
&lt;br /&gt;
5.社会的两极分化&lt;br /&gt;
&lt;br /&gt;
6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。&lt;br /&gt;
&lt;br /&gt;
7.最后的手段—思维，已经被破解：机器解释的是 &amp;quot;真实 &amp;quot;的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）&lt;br /&gt;
&lt;br /&gt;
3.缺乏沟通和讨论的意愿（因为立场相差太远）&lt;br /&gt;
&lt;br /&gt;
4.民粹主义者和民粹主义观点获得支持者&lt;br /&gt;
&lt;br /&gt;
5.社会两极分化&lt;br /&gt;
&lt;br /&gt;
6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。&lt;br /&gt;
&lt;br /&gt;
7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.用户变得透明(政府可以打击恐怖主义，任何用户都可以被勒索，嫉妒的配偶可以遏制通奸)。&lt;br /&gt;
&lt;br /&gt;
3.缺乏沟通和讨论的意愿(因为职位相距太远)。&lt;br /&gt;
&lt;br /&gt;
4.民粹主义和民粹主义观点获得支持。&lt;br /&gt;
&lt;br /&gt;
5.社会两极分化。&lt;br /&gt;
&lt;br /&gt;
英译汉有一种动机是不透露一个人对该对象了解多少，因为该对象可能会对合法性、制度等提出质疑。&lt;br /&gt;
&lt;br /&gt;
7.最后要解决的是思维问题：机器解释的是“真实”的态度，而不是口惠而实不至的话--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:41, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)&lt;br /&gt;
&lt;br /&gt;
9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics&lt;br /&gt;
'''&lt;br /&gt;
7 Simulation of the imminent future'''&lt;br /&gt;
&lt;br /&gt;
1.The imminent future behavior of a human can be predicted&lt;br /&gt;
&lt;br /&gt;
2.With many analyzed humans, the imminent future of reality can be predicted =&amp;gt; simulation&lt;br /&gt;
&lt;br /&gt;
8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量&lt;br /&gt;
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机&lt;br /&gt;
'''&lt;br /&gt;
7模8拟即将到来的未来&lt;br /&gt;
1.人类即将发生的未来行为是可以预测的&lt;br /&gt;
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=&amp;gt;模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量&lt;br /&gt;
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机&lt;br /&gt;
'''&lt;br /&gt;
7模拟迫近的未来&lt;br /&gt;
1.人类的迫近未来行为是可以预测的&lt;br /&gt;
2.在分析了许多人类后，我们便可预测现实的迫近未来=&amp;gt;模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量&lt;br /&gt;
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机&lt;br /&gt;
'''&lt;br /&gt;
7模8拟即将到来的未来&lt;br /&gt;
1.人类即将发生的未来行为是可以预测的&lt;br /&gt;
2.通过大量分析人类，现实里马上到来的未来便可预测到=&amp;gt;模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019). &lt;br /&gt;
&lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
'''8 Conclusion and Outlook'''&lt;br /&gt;
&lt;br /&gt;
Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.&lt;br /&gt;
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''8 结论与展望''' &lt;br /&gt;
&lt;br /&gt;
数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。&lt;br /&gt;
&lt;br /&gt;
尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''8 结论与展望''' &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
数据已经取代石油成为当今经济中最具价值的资源。大型科技公司已经利用用户的数据来牟取暴利的同时，与之相关的立法却被推迟，受到数据突破国界（对于科技公司来说没有国界）的挑战。&lt;br /&gt;
尽管像欧盟一样以输入合法化的自由民主国家和市场经济仍在保护隐私和数据安全，但中美两国的科技公司已经开始打入欧洲市场。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 07:23, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.&lt;br /&gt;
&lt;br /&gt;
'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.&lt;br /&gt;
'''&lt;br /&gt;
'''&lt;br /&gt;
The listed consequences document a fundamental change of paradigms: &lt;br /&gt;
'''&lt;br /&gt;
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。&lt;br /&gt;
&lt;br /&gt;
'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''&lt;br /&gt;
&lt;br /&gt;
所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。&lt;br /&gt;
&lt;br /&gt;
'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''&lt;br /&gt;
&lt;br /&gt;
所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.&lt;br /&gt;
'''&lt;br /&gt;
&lt;br /&gt;
AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.&lt;br /&gt;
&lt;br /&gt;
人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。&lt;br /&gt;
&lt;br /&gt;
人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?&lt;br /&gt;
&lt;br /&gt;
但是，具有外骨骼的动物会减少其内部肌肉并发展出柔软的内部，从而使它们完全没有外骨骼就无法生存。 骨骼外伦理，例如，对于被认为是积极的行为给予奖励积分，而对于被认为是消极的行为给予减分，这剥夺了人类在社会环境中的自然学习和发展过程的责任和内在的道德判断力 。 如果遇到一个具有骨骼外伦理和内心道德的人，你会更信任谁？--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
'''9 Outlook'''&lt;br /&gt;
&lt;br /&gt;
We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.&lt;br /&gt;
&lt;br /&gt;
'''9展望'''&lt;br /&gt;
&lt;br /&gt;
我们必须承认，发展是不可逆转的。每一项新技术都在某种程度上引发了恐慌。然后重要的事情是，我们开始意识到，并调整那些朝错误方向进行的发展。我们需要制定正确的构架和激励措施，让新技术继续稳定地为人类服务。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 03:06, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''9展望'''&lt;br /&gt;
&lt;br /&gt;
我们不得不承认，这种发展是不可逆转的。每一项新技术都会引发恐慌。重要的是，我们要意识到这些发展，并调整错误的发展方向。我们需要建立正确的框架和激励机制，使新技术能够继续为人类服务。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 04:04, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.&lt;br /&gt;
&lt;br /&gt;
'''References&lt;br /&gt;
'''&lt;br /&gt;
（参考文献不用翻译）&lt;br /&gt;
&lt;br /&gt;
AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/&lt;br /&gt;
&lt;br /&gt;
Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007&lt;br /&gt;
&lt;br /&gt;
Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/ &lt;br /&gt;
&lt;br /&gt;
Booth, T. &amp;quot;Cambridge Analytica controversy must spur researchers to update data ethics.&amp;quot; ''Nature'' 555.7698 (2018): 559-560.&lt;br /&gt;
&lt;br /&gt;
Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/&lt;br /&gt;
&lt;br /&gt;
Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453 &lt;br /&gt;
&lt;br /&gt;
Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare&lt;br /&gt;
&lt;br /&gt;
Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf: &lt;br /&gt;
&lt;br /&gt;
https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true&lt;br /&gt;
&lt;br /&gt;
Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). &amp;quot;Predicting personality with social media.&amp;quot; ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.&lt;br /&gt;
&lt;br /&gt;
Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). &amp;quot;Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students.&amp;quot; Computers in Human Behavior 87: 183-191.&lt;br /&gt;
&lt;br /&gt;
Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997&lt;br /&gt;
&lt;br /&gt;
Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.&lt;br /&gt;
	&lt;br /&gt;
https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf&lt;br /&gt;
&lt;br /&gt;
Raj Kannan, J., Sabitha, R., Karthik, S., &amp;amp; Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.&lt;br /&gt;
&lt;br /&gt;
Ruan, Lotus, et al. &amp;quot;One App, Two Systems: How WeChat uses one censorship policy in China and another internationally.&amp;quot; (2016).&lt;br /&gt;
Shensa, Ariel, et al. (2017). &amp;quot;Problematic social media use and depressive symptoms among US young adults: A nationally-representative study.&amp;quot; ''Social Science &amp;amp; Medicine ''182: 150-157.&lt;br /&gt;
&lt;br /&gt;
Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.&lt;br /&gt;
&lt;br /&gt;
Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). &amp;quot;The social media disorder scale.&amp;quot; ''Computers in Human Behavior ''61: 478-487.&lt;br /&gt;
&lt;br /&gt;
Verschuere, Bruno, and Bennett Kleinberg. &amp;quot;ID‐check: Online Concealed Information Test reveals true identity.&amp;quot; ''Journal of forensic sciences'' 61 (2016): S237-S240.&lt;br /&gt;
&lt;br /&gt;
Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
新发展提供了新可能。我们需要确保除了少数的技术公司和恐怖分子使用这一强大的新技术来达到他们的目的，还需要确保大量的智能设备的使用者不再沉迷于其中，不再被技术操控，从而重拾尊严，重获隐私和实现意志自由。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 06:51, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
'''Bio'''&lt;br /&gt;
&lt;br /&gt;
Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.&lt;br /&gt;
Woesler has co-edited the books &amp;quot;China's Digital Dream&amp;quot;, &amp;quot;Ethics of Information Society&amp;quot; and Springer has scheduled to publish the book &amp;quot;Diverse Voices in Chinese Translation and Interpretation&amp;quot; including his book chapter &amp;quot;Modern Interpreting with Digital and Technical Aids&amp;quot; in February 2021.&lt;br /&gt;
&lt;br /&gt;
个人简历&lt;br /&gt;
&lt;br /&gt;
自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College &amp;quot;Media Cultures of Computer Simulations&amp;quot; 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201228_cult&amp;diff=119504</id>
		<title>20201228 cult</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201228_cult&amp;diff=119504"/>
		<updated>2020-12-28T04:18:15Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Alsied, Saffana==&lt;br /&gt;
&lt;br /&gt;
==Cao Runxin 曹润鑫==&lt;br /&gt;
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。&lt;br /&gt;
&lt;br /&gt;
The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics and religion.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.《论语》多为语录，但都辞约义富，有些语句、篇章形象生动。&lt;br /&gt;
&lt;br /&gt;
The Analects are mostly discourses, but all of them are rich in diction and meaning, and some of them are vividly illustrated.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
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3.《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
&lt;br /&gt;
The ideas of The Sutra played an important role in the development of Zen Buddhism. This is the only Chinese Buddhist work to be honoured as a 'sutra'.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.林语堂将中国人旷怀达观，陶情遣兴的生活方式，和浪漫高雅的东方情调皆诉诸笔下，向西方人娓娓道出了一个可供仿效的“生活最高典型”的模式。&lt;br /&gt;
&lt;br /&gt;
Lin Yutang's writing brings to life the Chinese way of life, with its open-mindedness and optimism, as well as the romantic elegance of the East, and presents to Westerners a model of the 'highest form of life' to be emulated.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
&lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
&lt;br /&gt;
==Dashkin, Gennadii==&lt;br /&gt;
&lt;br /&gt;
1.When people see some things as beautiful, other things become ugly. When people see some things as good, other things become bad. &lt;br /&gt;
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当人们将某些事物视为美丽时，其他事物则变得丑陋。当人们将某些事情视为好事时，其他事情则变得不好。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.In China, the work has been by many attributed to Confucius himself, but the philological investigations to date do not allow to go back to a reliable source, partly because of the devastating book burning of 213 BC by the First Emperor Qin Shi Huang. &lt;br /&gt;
&lt;br /&gt;
在中国，许多人把这本书归功于孔子本人，但迄今为止的语言研究还不能追溯到可靠的来源，部分原因是秦始皇秦始皇于公元前213年毁灭性地烧毁了这本书。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
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3.One realizes it, while another is ignorant of it. &lt;br /&gt;
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一个人意识到了这一点，而另一个人则一无所知。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
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4.Perhaps I don’t understand economics, but economics does not understand me, either. &lt;br /&gt;
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也许我不了解经济学，但经济学却不了解也了解我.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
1. 道可道，非常道；名可名，非常名。&lt;br /&gt;
&lt;br /&gt;
The Tao that can be trodden is not the enduring and unchanging Tao.&lt;br /&gt;
&lt;br /&gt;
The name that can be named is not the enduring and unchanging name.&lt;br /&gt;
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2. 子曰：“学而时习之，不亦悦乎？有朋自远方来，不亦乐乎？人不知而不愠，不亦君子乎？”&lt;br /&gt;
&lt;br /&gt;
The Master said, To learn and at due times to repeat what one has learnt, is that not after all a pleasure? That friends should come to one from afar, is this not after all delightful? To remain unsound even though one's merits are unrecognized by others, is that not after all what is expected of a gentleman?&lt;br /&gt;
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3. 菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。&lt;br /&gt;
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No such thing as the Budhi tree,&lt;br /&gt;
&lt;br /&gt;
Nor a mirror stand that can be.&lt;br /&gt;
&lt;br /&gt;
There is nothing in the first place,&lt;br /&gt;
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Whereon can the dust and dirt creep?&lt;br /&gt;
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4. 生之享受包括许多东西：我们本身的享受、家庭生活的享受，树木、花朵、云霞、溪流、瀑布，以及大自然的形形色色，都足以称为享受；此外又有诗歌、艺术、沉思、友情、谈天、读书等的享受，后者的这些都是心灵交流的不同表现。&lt;br /&gt;
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The enjoyment of life covers many things: the enjoyment of ourselves, of home life, of trees, flowers, clouds, winding rivers and falling cataracts and the myriad things in Nature, and then the enjoyment of poetry, art, contemplation, friendship, conversation, and reading, which are all some form or other of the communion of spirits.&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:26, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The enjoyment of life includes many things: our own enjoyment, the enjoyment of family life, trees, flowers, clouds, streams, waterfalls, and all kinds of nature are enough to be called enjoyment; in addition, there are poetry, art, contemplation, the enjoyment of friendship, chatting, reading, etc., the latter are all different manifestations of spiritual communication.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:54, 27 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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1.老子曾做过周朝守藏史，后退隐，作《道德经》，其思想的核心是“道”。&lt;br /&gt;
&lt;br /&gt;
Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he retired from public life. It is widely believed that he was the author of Tao Te Ching and the core of Lao Zi's thought is &amp;quot;Tao&amp;quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he lived in seclusion. It is widely believed that he was the author of Tao Te Ching and the core of his thoughts is &amp;quot;Tao&amp;quot;.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before his retirement. Later he created the Tao Te Ching, of which the core thought is &amp;quot;Tao&amp;quot;.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》记录了孔子的言行。它涵盖了广泛的主题，从政治、哲学、文学和艺术到教育再到道德修养。&lt;br /&gt;
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The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature and art to education to moral cultivation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature to art,and from education to moral cultivation.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
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The Analects recorded Confucius' words and deeds. It covers a wide range of topics, from politics, philosophy, literature and art to education to moral cultivation.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)&lt;br /&gt;
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3.惠能禅学思想的主要特点是“识心见性”和“顿悟成佛”。&lt;br /&gt;
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The main features of Hui Neng's Zen thoughts are &amp;quot;knowing the heart and seeing the nature&amp;quot; and &amp;quot;becoming Buddha by epiphany&amp;quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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Hui Neng's Zen thoughts are characterized by &amp;quot;knowing the heart and seeing the nature&amp;quot; and &amp;quot;becoming Buddha by epiphany&amp;quot;.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是一本洗涤心灵的书籍，是一杯好茶，是一种良药。阅读此书能使我们被尘沙玷污的心灵洗涤，使我们能在嚣闹的城市中得到宁静。&lt;br /&gt;
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The Importance of Living is a book for washing the soul, a good cup of tea and a good medicine. Reading this book can wash our hearts polluted by dust and sand, and make us get peace in the noisy city.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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The Importance of Living is a book for refreshing the soul, a good cup of tea and a good medicine. Reading this book can purify our hearts tarnished by dust and sand, and make us get peace in the noisy city.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
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The Importance of Living is a book that cleanses the mind, a cup of good tea and a good medicine. Reading this book can wash our hearts stained with dust and allow us to find peace in noisy cities--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响 。&lt;br /&gt;
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Tao Te Ching is one of the greatest masterpieces in Chinese history, which has a profound influence on traditional philosophy, science, politics and religion. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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As one of the greatest masterpieces in Chinese history, Tao Te Ching has a profound influence on traditional philosophy, science, politics and religion.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)&lt;br /&gt;
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2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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The Analects embodies the political ideas, ethical thought, moral concepts and educational principles of Confucius and Confucianism. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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The Analects embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and Confucianism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC) &lt;br /&gt;
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3.《慧能经》主张世上一切事物空幻不实，即对于现实世界不应执著或留恋。&lt;br /&gt;
&lt;br /&gt;
The Sutra of Hui-neng holds that everything in the world is empty and unreal, that is, it should not be persistent or nostalgic for the real world.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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The Sutra of Hui-neng holds that everything in the world is illusory, that is, it should not be persistent or nostalgic for the real world.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是林语堂旅美专事创作后的第一部书，该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周。&lt;br /&gt;
&lt;br /&gt;
The Importance of Living is Lin Yutang's first book, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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The Importance of Living is Lin Yutang's first book after his study in the United States, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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==Grosheva, Anna==&lt;br /&gt;
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1. Yet mystery and manifestations arise from the same source. This source is called darkness. &lt;br /&gt;
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然而神秘和表现来自同一来源。这种来源称为黑暗。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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2. Started during the Spring and Autumn Period, the work of collection and organization of Confucian teachings was probably completed during the Warring States Period, although the precise date of publication of the complete work is unknown. &lt;br /&gt;
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春秋时期开始，儒家教义的收集和整理工作可能是在战国时期完成的，尽管确切的出版日期尚不清楚。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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3. Through ten chapters, the Platform Sutra cites and explains a wide range of Mahayana Buddhist scriptures. &lt;br /&gt;
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在十章中，《纲经》引用并解释了大乘佛教经文。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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4. The ancient people who desired to have a clear moral harmony in the world would first order their national life. &lt;br /&gt;
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希望在世界上建立清晰的道德和睦的远古民族首先会下定民族生活。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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1.《论语》是儒家的经典著作之一，它是对孔子及其弟子的言行和对话的记录。众所周知，孔子是一位伟大的思想家和哲学家，他的思想被发展成了的儒家哲学体系。《论语》是儒家思想的代表作，数个世纪以来，《论语》一直极大地影响着中国人的哲学观和道德观，它也影响着其他亚洲国家人民的哲学观和道德观。&lt;br /&gt;
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The Analects of Confucius is one of the Confucius classics and is a record of the words and acts of Confucius and his disciples,as well as the conversations they held.It's&lt;br /&gt;
well known that Confucius is agreat ideologist and philosopher,and his thoughts have been developed into a system of philosophyknownasConfucianism.The Analects ofConfucius&lt;br /&gt;
is a representative work of Confucianism.For centuries, it has been heavily influencing the philosophy and moral outlook of Chinese people and that of the people of other Asian countries as well.&lt;br /&gt;
&lt;br /&gt;
2.慧能的两个核心理念成为了正统佛教的精髓要义，其一，“无论社会阶层，无论精神文化，一切众生皆有佛性”；其二，“醒觉并非依靠冥想渐悟，而是一种瞬间的顿悟。”&lt;br /&gt;
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His two key ideas became the essence of orthodox Buddhism, namely that &amp;quot;all people,regardless of their social, culturalor spiritual condition, possess the Buddha nature&amp;quot; and that &amp;quot;awakening is not a meditation but a sudden, instantaneous process.&amp;quot; &lt;br /&gt;
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3.一次，学生子贡问孔子：“有一言而可以终身行之者乎？”子曰：“其恕乎。己所不欲，勿施于人。”&lt;br /&gt;
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Once,Zi Gong, one of Confucius’ disciples, asked the philosopher: “Is there any one word that can guide one throughout his life?”Confucius answered:“&lt;br /&gt;
Maybe it’s magnanimity! What you do not want done to yourself, do not do to others.”&lt;br /&gt;
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4.《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，接连再版四十余次，并为十余种文字所翻译。 &lt;br /&gt;
&lt;br /&gt;
&amp;quot;The Art of Life&amp;quot; is the first book created by Lin Yutang in the United States, and it is also another English work that has achieved success after &amp;quot;My Country and My People&amp;quot;. The book was published in the United States in 1937, reprinted more than forty times, and translated into more than ten languages.--[[User:Guan Qinqing|Guan Qinqing]]&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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==Guirou, Barthelemy==&lt;br /&gt;
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1. Laozi in the Tao Te Ching explains that the Tao is not a &amp;quot;name&amp;quot; for a &amp;quot;thing&amp;quot; but the underlying natural order of the Universe whose ultimate essence is difficult to circumscribe due to it being non-conceptual yet evident in one's being of aliveness.&lt;br /&gt;
&lt;br /&gt;
《道德经》中的老子解释道是不是“事物”的“名称”，而是宇宙的内在自然秩序，由于其非概念性但在生命力中很明显，其最终本质很难被限制。&lt;br /&gt;
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2. Analects is the China’s sacred book, the representative work of Confucianism. A collection of answers of dialogues between Confucius and his disciples.&lt;br /&gt;
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《论语》是中国的圣书，是儒家的代表作。孔子与门徒之间对话的答案的集合。&lt;br /&gt;
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《论语》是中国的圣书，是儒家的代表作。 孔子与门徒对话的答案集。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:38, 27 December 2020 (UTC)&lt;br /&gt;
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3. Lin Yutang was a Chinese inventor, linguist, novelist, philosopher, and translator. His informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the West.&lt;br /&gt;
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林语堂是中国发明家，语言学家，小说家，哲学家和翻译家。他的中英文不拘一格但又优美的风格使他成为这一代人中最有影响力的作家之一，他将经典的中国文字汇编和翻译成英文在西方是畅销书。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:36, 27 December 2020 (UTC)&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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==Ha, Thi Thu Hang==&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。&lt;br /&gt;
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The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries.&lt;br /&gt;
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2.海上丝绸之路形成于汉武帝时期。南海航线从中国出发，向西航行，是海上丝绸之路的主线。&lt;br /&gt;
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The maritime silk road was formed in the time of Emperor Wu of Han Dynasty. The South China Sea route, which starts from China and sails westward, is the mainstream of the maritime silk road.&lt;br /&gt;
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3.苏曼殊浪漫主义不是西学东渐的直接产物，而是固有文化生态发生结构变动之结果。&lt;br /&gt;
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The formation of Su Manshu's romantic style was not the direct result of the eastward spread of Western learning but was the natural outcome of structural change in China's innate cultural ecosystem. &lt;br /&gt;
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4.洋务派是中国近代最早的全面系统地接触近代科学技术的一个政治派别。&lt;br /&gt;
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Advocates of the westernization movement was the first political school that touched modern science and technology comprehensively and systematically in China.&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
1. 《道德经》简称老子，是中国的经典文本。根据传统，它是由公元前6世纪的圣人老子所写，老子是周朝的一位记录者，在中国广为人知。尽管最早出土的文字可以追溯到公元前4世纪晚期，但文字的真正作者和撰写或编纂日期仍有争议。&lt;br /&gt;
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1. The Tao Te Ching simply referred to as the Laozi，is a Chinese classic text. According to tradition, it was written around 6th century BC by the sage Laozi, a record-keeper at the Zhou dynasty court, by whose name the text is known in China. The text's true authorship and date of composition or compilation are still debated, although the oldest excavated text dates back to the late 4th century BC.&lt;br /&gt;
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2. 《论语》是儒家学派的经典著作之一，由孔子的弟子及其再传弟子编撰而成。它以语录体和对话文体为主，记录了孔子及其弟子言行，集中体现了孔子的政治主张、论理思想、道德观念及教育原则等。&lt;br /&gt;
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2. The Analects is one of the classical works of Confucianism, compiled by the disciples of Confucius and his disciples. It is mainly in the style of discourses and dialogues, recording the words and deeds of Confucius and his disciples, concentrating on Confucius' political ideas, theoretical thoughts, moral concepts and educational principles.&lt;br /&gt;
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3. 《慧能经》附有慧能对《金刚经》的逐条注释——这是它有史以来第一次出版的英文译本。他的谈话集也被称为《六祖坛经》，是唯一的禅宗记录，一般被尊称为经，或经文。&lt;br /&gt;
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3. The Sutra of Hui-neng is here accompanied by Hui-neng's verse-by-verse commentary on the Diamond Sutra—in its very first published English translation ever.This collection of his talks, also known as the Platform or Altar Sutra, is the only Zen record of its kind to be generally honored with the appellation sutra, or scripture.&lt;br /&gt;
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4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。&lt;br /&gt;
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4. “The Art of Living” was Lin Yutang's first book after he had traveled to the U.S. and was another successful work in English. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was reprinted more than forty times and translated into more than a dozen languages.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 07:31, 25 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;The Art of Living&amp;quot; was the first book created by Lin Yutang in the United States, and it is also another English work that has been successful since then. The book was published in the United States in 1937, and it ranked first in the United States bestseller list for 52 weeks in the following year,and has been republished more than forty times, and has been translated for more than ten languages.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:57, 27 December 2020 (UTC)&lt;br /&gt;
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4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。&lt;br /&gt;
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''The Art of Living'' was Lin Yutang's first book after he had traveled to the U.S. and was another successful English work after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks at the following year. Besides, it was reprinted more than forty times and translated into more than a dozen languages.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:20, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
1. 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。、&lt;br /&gt;
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Tao Te Ching is one of the greatest masterpieces in Chinese history, which has a profound impact on traditional philosophy, science, politics and religion. --[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)&lt;br /&gt;
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2.《论语》中保留了一些人们对孔子师徒的批评讽刺，有的作了辩驳，有的没有回答。&lt;br /&gt;
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The Analects of Confucius retains some criticisms and ironies of Confucius' teachers and disciples, some of which have made refutation, while others have not.&lt;br /&gt;
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3. 慧能的禅法以定慧为本，认为觉性本有，烦恼本无。&lt;br /&gt;
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Huineng's Zen method is based on determining wisdom, thinking that awareness is inherent, but troubles are not.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)&lt;br /&gt;
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4. 《活着》是作家余华的代表作之一，讲述了在大时代背景下，随着内战、三反五反，大跃进，文化大革命等社会变革，徐福贵的人生和家庭不断经受着苦难，到了最后所有亲人都先后离他而去，仅剩下年老的他和一头老牛相依为命。&lt;br /&gt;
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Living is one of Yu Hua's representative works, which tells how Xu Fugui's life and family are constantly suffering with the civil war, the three anti-five evils, the Great Leap Forward, the Cultural Revolution and other social changes. In the end, all his relatives have left him one after another, leaving only an old cow.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
1.《道德经》九九八十一章，可理解为《道经》（上篇）和《德经》（下篇）两个部分，言简意赅、博大精深。大至宇宙、小至微尘，大无其外，小无其内；有修身、用人、治国。&lt;br /&gt;
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The eighty-one chapters of the Tao Te Ching, which can be understood as two parts, the Tao Te Ching (upper part) and the De Te Ching (lower part), are concise and profound. It is as big as the universe and as small as the dust; there is no outside of the big and no inside of the small; there is the cultivation of the body, the use of people and the governance of the country.&lt;br /&gt;
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2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。&lt;br /&gt;
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The Analects, one of the classics of Confucianism, is mainly a collection of essays in the form of discourses and dialogues, recording the words and deeds of Confucius and his disciples, concentrating on the political, aesthetic, moral, ethical and utilitarian values of Confucius.&lt;br /&gt;
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3.相传，有一位名叫慧能的砍柴夫，虽然目不识丁，却开创了佛教的南禅宗派，提出“人人皆有佛性”，进而确立“顿悟成佛”之学。&lt;br /&gt;
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According to legend, an illiterate woodsman called Huineng founded the &amp;quot;Sudden Enlightenment&amp;quot; or the Southern Chan School of Buddhism and propounded the idea that everyone possesses &amp;quot;the Buddha nature.&amp;quot;&lt;br /&gt;
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4.生活是10%的经历，和90%的态度。我们无时无刻不在书写我们的生活经历，我们可以选择生活的台词。当下，我们可以放下自我怀疑、愤怒、沮丧。当下，我们可以选择幸福。&lt;br /&gt;
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Life is 10% what happens to you and 90% how you interpret it and put it into perspective.Right now we're writing our life stories, and we can choose how the script will read. Right now we can put behind us self-doubt, anger, frustration. Right now, we can choose happiness.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:18, 27 December 2020 (UTC)&lt;br /&gt;
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Life is 10% experience and 90% attitude. Right now we're experiencing our life, and we can choose how to live. Right now we can put behind our self-doubt, anger, frustration. Right now, we can choose happiness.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:22, 28 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
1、丝绸之路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。数千年来，游牧民族或部落、商人、教徒、外交家、士兵和学术考察者沿着丝绸之路四处活动。&lt;br /&gt;
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The Silk Road is considered to be the ancient crossroads of eastern and western civilizations linking Asia and Europe, with Silk being the most iconic cargo. For thousands of years, nomadic peoples or tribes, merchants, religious, diplomats, soldiers and academic researchers moved around along the Silk Road.&lt;br /&gt;
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2、郑和七次奉旨率船队远航西洋，航线从西太平洋穿越印度洋，直达西亚和非洲东岸，途经30多个国家和地区。他的航行比哥伦布发现美洲大陆早87年，比达·伽马早92年，比麦哲伦早114年。在世界航海史上，他开辟了贯通太平洋西部与印度洋等大洋的直达航线。&lt;br /&gt;
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Zheng He was ordered to lead seven voyages to the Atlantic Ocean, with routes from the western Pacific Ocean across the Indian Ocean to West Asia and the east coast of Africa, passing through more than 30 countries and regions. His voyage was 87 years before Columbus discovered the American continent, 92 years before Da Gama, and 114 years before Magellan. In the history of world navigation, he opened up a direct route through the western Pacific Ocean and the Indian Ocean and other great oceans.&lt;br /&gt;
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3、西学书籍的翻译和著述，是西学东渐相当重要的媒介，在当时出现了大量的由教士及士大夫合著合译的书籍，但这些书籍未能受到当时一般社会的重视，也未能打入晚明已十分发达的商业出版界，因此虽西学书籍有刻印出版，但主要仍仅流通于少数有兴趣的士大夫阶层。&lt;br /&gt;
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The translation and writing of books on Western studies was an important medium for the gradual expansion of Western studies to the east. A large number of books co-authored and translated by clergy and scholars emerged at that time, but these books were not taken seriously by the general society at that time, nor did they penetrate into the commercial publishing world, which was already well developed in the late Ming Dynasty.&lt;br /&gt;
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4、随着军事工业的创办，洋务派认识到，强大的国防基础在于整个国家经济的发展，要求能源、钢铁等工业与之配套。同时，为了维护民族利益，也必须发展民族经济，与洋人&amp;quot;商战&amp;quot;、&amp;quot;争利&amp;quot;。于是，他们提出了求富的口号，民用工业和新式交通运输业也发展起来了。&lt;br /&gt;
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With the founding of the military industry, the School of Westernization realized that the basis of a strong national defense lay in the development of the entire national economy, requiring energy, steel and other industries to go along with it. At the same time, in order to safeguard national interests, it was also necessary to develop the national economy and to &amp;quot;negotiate&amp;quot; and &amp;quot;compete for profits&amp;quot; with the foreigners. Thus, they put forward the slogan of seeking wealth, and the civil industry and new transportation industry were developed.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 14:10, 26 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
1. 写于两千多年前的《道德经》是真正的精神文学经典之一。它是一个培养和平、宁静和同情的指南。&lt;br /&gt;
Written more than two thousand years ago, the Tao Te Ching is one of the true classics of spiritual literature. It is a guide to cultivating peace, serenity, and compassion.&lt;br /&gt;
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The Tao Te Ching, written more than two thousand years ago, is one of the true spiritual literature classics. It is a guide to cultivate peace, tranquility and compassion.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:35, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》写于春秋战国时期（约公元前479年至公元前221年），被认为是儒家思想最具代表性的著作之一，至今仍对中国文化和东亚产生了重大影响。&lt;br /&gt;
Written during the Period of Spring and Autumn and Warring States Period (ca. 479 BC - 221 BC), the Analects are considered among the most representative works of Confucian thought, and still have a great influence on Chinese culture and East Asia.&lt;br /&gt;
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3.慧能（638-713）也许是禅宗中最受人喜爱和尊敬的人物。他本是一个目不识丁的樵夫，却一下子获得了觉悟，成为中国禅宗的第六宗师，被誉为“顿悟派”的创始人。&lt;br /&gt;
Hui-neng (638–713) is perhaps the most beloved and respected figure in Zen Buddhism. An illiterate woodcutter who attained enlightenment in a flash, he became the Sixth Patriarch of Chinese Zen, and is regarded as the founder of the &amp;quot;Sudden Enlightenment&amp;quot; school.&lt;br /&gt;
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4.生活的艺术是对现代世界令人眼花缭乱的节奏的一种讽刺、诙谐的解毒剂。&lt;br /&gt;
The Importance of Living is a wry, witty antidote to the dizzying pace of the modern world.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:35, 27 December 2020 (UTC)&lt;br /&gt;
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The art of living is an ironic and witty antidote to the dazzling rhythm of the modern world.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:35, 27 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。&lt;br /&gt;
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As one of the greatest masterpieces in Chinese history, ''Tao Te Ching'' has a profound impact on traditional philosophy, science, politics, and religion.&lt;br /&gt;
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Tao Te Ching, as one of the greatest masterpieces in Chinese history, has a profound impact on traditional philosophy, science, politics and religion.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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2.孔子因材施教，对于不同的对象，考虑其不同的素质、优点和缺点、进德修业的具体情况，给予不同的教诲，表现了诲人不倦的可贵精神。&lt;br /&gt;
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Confucius taught students in accordance with their aptitude. He gave different instructions to different students, taking into account their different qualities, strengths and weaknesses, and the specific circumstances of their advancement and cultivation, showing the valuable spirit of tireless teaching.&lt;br /&gt;
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Confucius taught students in accordance with their aptitude. For different objects, he considered their different qualities, advantages and disadvantages, and the specific situation of moral education, and gave different instructions, which showed the valuable spirit of tireless teaching.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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3.近年来，中国大多数学者都认为《坛经》的基本内容代表了慧能思想，同时其中也有后人增益的成分。&lt;br /&gt;
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In recent years, most Chinese scholars believe that the basic content of the ''The Sutra of Huineng'' represents the thought of Huineng, while there are also some elements of later additions to it.&lt;br /&gt;
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In recent years, most Chinese scholars believe that the basic content of Tanjing represents Huineng's thought, and it also contains the later additions.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，被翻译为十余种文字全球发行。&lt;br /&gt;
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''The Importance of Living'' was the first book after Lin Yutang had traveled to the United States and was another successful work in English after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was republished more than forty times and translated into more than a dozen languages for global distribution.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:14, 25 December 2020 (UTC)&lt;br /&gt;
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''The Art of Life'' is the first book written by Lin Yutang after his trip to the United States. It is also another successful English work after ''My Country and My People''. The book was published in the United States in 1937. The following year, it ranked the top of the best seller list in the United States for 52 weeks. It has been reprinted for more than 40 times and has been translated into more than 10 languages for global distribution.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
1、传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。这条路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。&lt;br /&gt;
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The traditional Silk Road, which started from Chang'an, the ancient capital of China, and reached the Mediterranean Sea via Central Asian countries, Afghanistan, Iran, and Syria, and ended in Rome, was 6,440 kilometers long. This road is considered to be the intersection of ancient eastern and western civilizations linking Asia and Europe, and silk is the most representative cargo. The road reached the Mediterranean Sea from Iraq, Syria, etc. and ended in Rome, with a total length of 6,440 kilometers. This road is considered to be the crossroads of ancient civilizations between East and West, linking Asia and Europe, and silk is the most representative cargo.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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The traditional Silk Road started in the ancient Chinese capital of Chang'an, and reached the Mediterranean through Central Asian countries, Afghanistan, Iran, Iraq, Syria, etc., ending in Rome, with a total length of 6,440 kilometers. This road is considered to be the intersection of the ancient Eastern and Western civilizations connecting Asia and Europe, and silk is the most representative goods.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:59, 27 December 2020 (UTC)&lt;br /&gt;
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2、东海航线，也叫“东方海上丝路”。春秋战国时期，齐国在胶东半岛开辟了“循海岸水行”直通辽东半岛、朝鲜半岛、日本列岛直至东南亚的黄金通道。唐代，山东半岛和江浙沿海的中韩日海上贸易逐渐兴起。宋代，宁波成为中韩日海上贸易的主要港口。&lt;br /&gt;
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The East Sea Route, also known as the &amp;quot;Eastern Sea Silk Road&amp;quot;. During the Spring and Autumn Period and the Warring States Period, the State of Qi opened up a golden route on the Jiaodong Peninsula, which led to the Liaodong Peninsula, the Korean Peninsula, the Japanese islands and Southeast Asia. During the Tang Dynasty, the maritime trade between China, Korea and Japan on the Shandong Peninsula and the coast of Jiangsu and Zhejiang gradually emerged. During the Song Dynasty, Ningbo became the main port for maritime trade between China, Korea and Japan.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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3、东学西渐指的是一个和西学东渐互相补充的东西方文化交流过程。东学西渐有一千多年的历史，对世界文化的发展有十分深远的影响。&lt;br /&gt;
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Eastern learning and Western learning refers to a process of cultural exchange between East and West that complements Western learning and Eastern learning. With a history of over a thousand years, East to West has had a profound impact on the development of world culture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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4、洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
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Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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Although the Westernization Movement objectively stimulated the development of Chinese capitalism and resisted the economic input of foreign capitalism to a certain extent, it did not make China prosperous and strong.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
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==Lo, Minh Thao==&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
1 《道德经》是中国古代哲学著作。又称《老子》，被道教作为重要经典收入道藏。共81章，分上、下篇。此刻通行本上篇言道，下篇言德。其中有不少和生活有关的处世哲理。&lt;br /&gt;
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Tao Te Ching is an ancient Chinese philosophical work.Also known as Laozi, Taoism as an important classic into the Collection of Taoism. A total of 81 chapters, divided into the first and second. At this moment, the first text of the passage, the next text of virtue.There are a lot of life related philosophy.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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2 《论语》，是孔子弟子及再传弟子记录孔子及其弟子言行而编成的语录文集，成书于战国前期。全书共20篇492章，以语录体为主，叙事体为辅，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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The Analects of Confucius is a collection of quotations compiled by Confucius and his disciples to record their words and deeds. It was written in the early period of the Warring States Period. The book consists of 20 chapters, with quotations as the main body and narration as the auxiliary body, which mainly reflects the political propositions, ethical thoughts, moral concepts and educational principles of Confucius and The Confucian school.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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3 慧能俗姓卢，原籍河北范阳（今北京大兴）。他的父亲贬官到了岭南新州（今广东新兴），生下了慧能。慧能年轻时父亲去世，家境贫寒，靠打柴卖柴来养活母亲。&lt;br /&gt;
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Hui Neng was born in Fanyang, Hebei province (now Daxing, Beijing).His father moved to New South Wales in the Lingnan region and gave birth to Huineng. When Huineng was young, her father died and her family was poor, so she sold firewood to support her mother.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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4 林语堂早年留学美国、德国，获哈佛大学文学硕士，莱比锡大学语言学博士。回国后在清华大学、北京大学、厦门大学任教。1945年赴新加坡筹建南洋大学，任校长。曾任联合国教科文组织美术与文学主任、国际笔会副会长等职。&lt;br /&gt;
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Lin Yutang studied in the United States and Germany in his early years. He received his MA from Harvard University and his PhD in Linguistics from the University of Leipzig.After returning to China, he taught in Tsinghua University, Peking University and Xiamen University. In 1945, he went to Singapore to establish Nanyang University and became its president.He has served as director of Fine Arts and Literature of UNESCO and vice President of the International Pen Association.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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1.《道德经》内容涵盖哲学、伦理学、政治学、军事学等诸多学科，被后人尊奉为治国、齐家、修身、为学的宝典。它对中国的哲学、科学、政治、宗教等产生了深远的影响，体现了古代中国人的一种世界观和人生观。&lt;br /&gt;
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Tao Te Ching covers philosophy, ethics, political science, military science and many other disciplines, and is respected as a treasure of governing the country, regulating the family, cultivating self-cultivation and learning. It has a profound influence on Chinese philosophy, science, politics and religion, and embodies a world outlook and outlook on life of ancient Chinese.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。&lt;br /&gt;
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The content of the Analects of Confucius involves politics, education, literature, philosophy and the truth of life. As early as the Late Spring and Autumn Period when Confucius set up a lecture platform, its main content had been initially created--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。《坛经》的思想对禅宗发展起到了重要作用。&lt;br /&gt;
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The text mainly records Huineng's life story and teachings. According to the theory of &amp;quot;self nature is pure&amp;quot;, it advocates the basic ideas of &amp;quot;find one’s ture self&amp;quot; and &amp;quot;insight into Buddhism&amp;quot;. The thought of ''Tanjing'' played an important role in the development of Zen.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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4.本书是一种私人的供状，供认我自己的思想和生活所得的经验。我不想发表客观意见，也不想创立不朽真理。我实在瞧不起自许的客观哲学。&lt;br /&gt;
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This book is a personal confession of my own thoughts and experiences. I don't want to be objective and create immortal truth because I really despise the objective philosophy of self promise.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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1.“道”作为《道德经》中最抽象的概念范畴，是天地万物生成的动力源。&lt;br /&gt;
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The way, as the most abstract concept in Tao Te Ching, is the power source for the creation of all things.&lt;br /&gt;
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As the most abstract conceptual category in Tao Te Ching, &amp;quot;Tao&amp;quot; is the source of power for the creation of heaven and earth.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:21, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.《论语》主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。&lt;br /&gt;
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The Analects of Confucius mainly records the words and deeds of Confucius and his disciples in the form of quotations and dialogues, which embodies Confucius' political, aesthetic, moral and utilitarian values.&lt;br /&gt;
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3.若欲修行，在家亦得，不由在寺。&lt;br /&gt;
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If people are sincerely keen on the practice,it is no need for them to practise in the temple and they can be successful even at home.&lt;br /&gt;
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If you want to practice, you can get it at home, so you can't help but stay at the temple.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:37, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂的翻译特点是通畅易懂，少用“行语”，中等文化的读者都能看懂。&lt;br /&gt;
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The translation works of Lin Yutang are characterized by fluency and transparency since he hardly adopt jargons,so that his works can be understood by less-educated readers.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:11, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Ngo, Thi Minh Huong==&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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==Phyo, Su Kyi==&lt;br /&gt;
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1-道德经，也被称为老子或老子，是中国传统文字，传统上被认为是公元前6世纪的圣人老子。文章的作者，撰写日期和编辑日期受到争议。&lt;br /&gt;
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The Tao Te Ching, also known as Lao Tzu or Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.&lt;br /&gt;
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The ''Tao Te Ching'', also known as Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)&lt;br /&gt;
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2-《论语》约写于公元前500年，传统上归功于孔子。这段文字是由他的学生们在他去世后三十到五十年的时间内写的。&lt;br /&gt;
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The Analects, were written about 500 BC and are traditionally attributed to Confucius. The text was written by his students over a time period spanning the thirty to fifty years following his death.&lt;br /&gt;
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''The Analects'', was written about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a time period spanning the thirty to fifty years following his death.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)&lt;br /&gt;
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''The Analects'', was written in about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a period of time spanning the thirty to fifty years following his death.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:35, 27 December 2020 (UTC)&lt;br /&gt;
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3-大建会能，又称禅宗第六祖或禅宗第六祖，是中国禅宗早期历史中的半传奇人物，但却是中心人物。根据传统，他是一个没有受过教育的外行，在听到《金刚经》后突然醒悟。&lt;br /&gt;
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Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Chan, is a semi-legendary but central figure in the early history of Chinese Chan Buddhism. According to tradition he was an uneducated layman who suddenly attained awakening upon hearing the Diamond Sutra.&lt;br /&gt;
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Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Zen, is a semi-legendary but central figure in the early history of Chinese Zen Buddhism. According to the tradition, he was an uneducated layman who suddenly awakened upon hearing the contents of ''Diamond Sutra''.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)&lt;br /&gt;
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4-林语堂是中国发明家，语言学家，小说家，哲学家和翻译家。他的中英文不拘一格但又优美的风格使他成为这一代人中最有影响力的作家之一，他将经典的中国文字汇编和翻译成英文在西方是畅销书。&lt;br /&gt;
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Lin Yutang was a Chinese inventor, linguist, novelist, philosopher, and translator. His informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the West.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 07:07, 27 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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==Pingki, Tanchangya==&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
1、据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。&lt;br /&gt;
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According to UNESCO, ''the Tao Te Ching'' is the most widely translated cultural masterpiece in foreign languages after the ''Bible''.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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2、孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。&lt;br /&gt;
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Confucius was one of the most famous scholars in the society at that time. He was honored as &amp;quot;the sage of Heaven&amp;quot; and &amp;quot;the Wooden priest of Heaven&amp;quot; when he was alive. He was also honored as the sage of Confucius, the most holy, the most holy Teacher of Confucius, the most holy Master of Dacheng, the king of Wenxuan and the master of all ages by later rulers.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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3、经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。&lt;br /&gt;
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The sutra mainly records Huineng's life story and his teachings. According to the theory of &amp;quot;self-nature is pure and pure&amp;quot;, it advocates the basic idea of &amp;quot;seeing nature with clear heart&amp;quot; and &amp;quot;becoming Buddha with enlightenment&amp;quot;.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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4、林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来兮辞》，讲解了《圣经》故事，以及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月等等。&lt;br /&gt;
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Lin yutang talked about in the book zhuangzi's indifferent, praised tao yuanming's leisurely, read the &amp;quot;I'm going home!&amp;quot;, explained the bible stories, and how the Chinese tea, how do drinkers' wager game, how to view mountain, how to play water, how to look at the cloud, how to guide, how to grow flowers, birds, snow, rain, song of the wind, to month, and so on.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
1.法律制度是治国者统治人民的工具，是统治者为了保障自身的利益与维持社会秩序建构的国家机器，所以老子极力反对这些措施与法令制度。&lt;br /&gt;
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The legal system is the ruler's tool for ruling the people, and is the state machine constructed by the ruler to protect his own interests and maintain social order. Therefore, Laozi strongly opposed these measures and decrees.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》是中国读书人的基础语言，并影响着全社会的思维结构。 中国文化是儒、道、佛三教的合流，但是，这三教在中国文化中的地位决不是三足鼎立的，儒家文化绝对是中国文化的主流，从汉代开始，它就是无可争议的主流意识形态。&lt;br /&gt;
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The Analects is the basic language of Chinese scholars and influences the thinking structure of the whole society. Chinese culture is an amalgamation of Confucianism, Taoism and Buddhism. However, these three religions are by no means a triumvirate in Chinese culture; Confucianism is definitely the mainstream of Chinese culture, and it has been the undisputed dominant ideology since the Han Dynasty.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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3.在我国佛教的发展历史上，惠能可以说是影响最大的高僧。南北朝初期达摩祖师入中土，开创禅宗。&lt;br /&gt;
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In the history of Buddhism in China, the Huineng can be said to be the most influential monk. At the beginning of the Southern and Northern Dynasties, Dharma entered China and started Zen Buddhism.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》一书，是汇集了许多中西思想家的思想, 再经过林语堂深思熟虑，书写自己的观念与真理的书。&lt;br /&gt;
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''The Art of Living'' is a book that brings together the thoughts of many Chinese and Western thinkers, and then, after Lin Yutang's careful consideration, he writes his own concepts and truths.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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1.虽然丝绸之路是沿线各国共同促进经贸发展的产物，但很多人认为，中国的张骞两次通西域，开辟了中外交流的新纪元。从此，这条路线被作为“国道”踩了出来，各国使者、商人、传教士等沿着张骞开通的道路，来往络绎不绝。&lt;br /&gt;
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The Silk Road is the product of joint economic and trade development of countries along the route, but many people think that Zhang Qian’s traveling to the West for two times launched a new era for China and foreign exchanges. Since then, this route was deemed as “international route” as envoys, merchants and missionaries came and went along the route opened by Zhang Qian.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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2.通过海上丝绸之路，中国还传播着民族工艺和儒道思想，对&amp;quot;海上丝路&amp;quot;沿线国家和地区以及欧洲各地产生不同程度的影响，甚至掀起了&amp;quot;中国热&amp;quot;。其中，瓷器和茶叶对世界有着很大的影响。&lt;br /&gt;
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China spread its national craft, Confucianism and Taoism through the Maritime Silk Road, impacting countries along the route and European regions of varying degrees and even created “China fever”. Among them, porcelains and Tea have great influence upon the world.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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3.甲午战争以后，中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。&lt;br /&gt;
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Because of the First Sino-Japanese War, the Chinese people faced the fate of losing their country and families. Thus many scholars started to learn from western countries more positively and comprehensively, and a number of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a great amount of knowledge of natural science and social science and asked political reforms.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。京师同文馆、上海广方言馆以及江南制造局的译书馆，是当时翻译西方的中心。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。&lt;br /&gt;
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During the 35 years of The Westernization Movement, the development of culture and publishing reached an unprecedented level. The Tongwenguan in Beijing, the Guangfangyanguan in Shanghai and the Yishuguan of the Jiangnan Manufacturing Bureau were the center of translating western works. The translation of books has gone through a process from purely Western scientific and technical works and books to works on natural sciences and social sciences and humanities, with the latter even slightly prevailing.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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1.汉武帝刘彻即位时，张骞已在朝廷担任名为“郎”的侍从官。据史书记载，他“为人强力，宽大信人”。即具有坚韧不拔、心胸开阔，并能以信义待人的优良品质。建元三年，即公元前138年，张骞“以郎应募，使月氏”。“郎”，是皇帝的侍从官，没有固定职务，又随时可能被选授重任。&lt;br /&gt;
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When Emperor Wu of Han Dynasty Liu Che assumed the throne, Zhang Qian was already working at the court as a retainer named &amp;quot;Lang&amp;quot;. According to historical records, he was &amp;quot;a strong, generous and trustworthy&amp;quot;. In other words, he was tough, open-minded, and could treat people with faith and justice. In the third year of Jian Yuan, that is, 138 B.C., Zhang Qian was recruited to make a mission to the Moon Dynasty. The &amp;quot;Lang&amp;quot;, the emperor's retainer, has no fixed position, and may be chosen at any time to reappoint.&lt;br /&gt;
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2.有观点认为，明初时海外威胁受到重视，故有郑和下西洋之事。然而，或许郑和过于成功了，“他的海军满载荣誉胜利归来，并确认帝国没有来自海上的威胁”，因此“郑和与他的随从也可以说失去了继续远航的意义。”&lt;br /&gt;
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It has been argued that the overseas threat was taken seriously at the beginning of the Ming Dynasty, hence Zheng He's voyage to the West. However, perhaps Zheng He was too successful, &amp;quot;his navy returned triumphantly laden with glory and confirmed that there was no threat to the empire from the sea&amp;quot;, so &amp;quot;Zheng He and his entourage could be said to have lost the point of continuing their voyage&amp;quot;.&lt;br /&gt;
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3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。许多人以转译日本人所著的西学书籍来接受西学。进入民国时期，由于对政治的不满又进一步导致知识分子们提出全盘西化的主张，在五四时期这种思想造成了很大的影响。这一波的西学东渐，一直持续到当代而未止。&lt;br /&gt;
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After the First Sino-Japanese War, as China was facing the fate of national ruin, many learned people began to learn more actively and comprehensively from the West, and a group of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a lot of natural and social science knowledge from the West, and also demanded reforms in politics. A great deal of Western knowledge was introduced into China during this period, and its influence was very widespread. Many people embraced Western learning by translating Western books written by the Japanese. In the Republican period, dissatisfaction with politics further led intellectuals to advocate wholesale Westernization, which had a great impact in the May Fourth period. This wave of Western learning continued into contemporary times.&lt;br /&gt;
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4.洋务派前期创办的军事工业，经费由清政府调拨，产品分配给军队使用，管理方式是封建衙门式的。虽然这些企业采用机器生产，但本质上属于带有资本主义因素的封建官办企业。&lt;br /&gt;
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The military industries founded by the foreign affairs faction in the early period were financed by the Qing government, and the products were allocated to the army for use, and managed in a feudal government office style. Although these enterprises adopted machine production, they were essentially feudal government-run enterprises with capitalist elements.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:23, 25 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
1. 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。&lt;br /&gt;
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The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion. According to UNESCO, the Tao Te Ching is the most translated and published cultural masterpiece into foreign languages, except for the Bible.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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2. 《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。&lt;br /&gt;
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The Analects covers politics, education, literature, philosophy, and the principles of living in the world. As early as the late Spring and Autumn period, when Confucius set up a forum to teach, the main content of the Analects was already in its infancy.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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3.《六祖坛经》记载惠能一生得法传法的事迹及启导门徒的言教,内容丰富,文字通俗,是研究禅宗思想渊源的重要依据。&lt;br /&gt;
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The Sutra of Hui-neng is a richly written account of Hui-neng's life and teachings of his disciples, also working as an important basis for studying the origins of Zen’s thought.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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4. 读书使人得到一种优雅和风味，这就是读书的整个目的。读书并不是要“改进心智”，若是如此，一切读书的乐趣便丧失净尽了。&lt;br /&gt;
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4. Reading gives one a grace and flavor, and that is the whole purpose of reading. Reading is not to &amp;quot;improve the mind&amp;quot;; if it were, all the pleasure of reading would be lost.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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Reading gives people an elegance and flavor, which is the whole purpose of reading.Reading is not meant to &amp;quot; improve the mind &amp;quot;; if so, all the pleasure of reading is lost.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:37, 27 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
1.老子说：“上善若水”-—水具有最高的善。老子以水来作比喻，突出他的“不争”哲学思想，与恶意争斗的丛林法则相区别。&lt;br /&gt;
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1.The highest good is like water, according to Laozi. By making a comparison with water, the ancient philosopher stressed the idea of “not to strive” which stands in stark contrast with the law of the jungle marked by malicious rivalry. &lt;br /&gt;
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2.孔子修史书，编纂《春秋》，整理古代文献，在文化的继承和发扬上有着卓越的贡献。孔子去世后，弟子们将他的言论编成了《论语》一书。孔子修史书，编纂《春秋》，整理古代文献，在文化的继承和发扬上有着卓越的贡献。孔子去世后，弟子们将他的言论编成了《论语》一书。&lt;br /&gt;
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2.Confucius revised history books, wrote the Spring and Autumn Annals, and organized ancient texts, which contributed to the development of the Chinese culture. After his death, his students collected his sayings into a book:''the Analects of Confucius''.&lt;br /&gt;
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3. 道可道,非常道;名可名,非常名.&lt;br /&gt;
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3.The way that can be told of is not an unvarying names;The names that can be named are not unvarying names.&lt;br /&gt;
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4.林语堂(1894—1976)，原名玉堂，福建省龙溪县人。现代散文家、小说家，曾留学美国、德国，获哲学博士学位。1922年回国后，在北京大学、北京女子师范大学任教。曾是鲁迅主持的《语丝》撰稿人。&lt;br /&gt;
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4.Lin Yutang (1894 -- 1976), formerly known as Yutang, was born in Longxi County, Fujian Province.He is a modern essayist, novelist, and has studied abroad in the United States, Germany, and a doctor in philosophy.After returning to China in 1922, he taught in Peking University and Beijing Women's Normal University.He used to be a writer of Threads hosted by Lu Xun.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:39, 27 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
1.老子认为世界上的任何事物都是相比较而存在的。美丑、善恶、有无、难易、长短都是相互依存的，有此才有彼，有是才有非，有善才有恶。表面看来，正相反对的两个方面是相互对立的，而实际上又是相互包含、相互渗透的。&lt;br /&gt;
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1.Laozi believes that everything in the world exists by comparison. Beauty and ugliness, good and evil, existence and existence, difficulty and difficulty, length and length are interdependent. There is one and there is another, there is yes and there is no, there is good and there is evil. On the surface, the two opposite aspects are opposite, but in fact they are mutually contained and permeated.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.《论语》既是语录体又是若干断片的篇章集合体。这些篇章的排列不一定有什么道理；就是前后两章间，也不一定有什么关联。而且这些断片的篇章绝不是一个人的手笔。&lt;br /&gt;
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2.The Analects of Confucius is a collection of quotations and fragments. The arrangement of these chapters does not necessarily make sense; Even between the two chapters, there is not necessarily a connection. And these fragmentary passages are not the work of one man.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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3.毛泽东还谈到过惠能的思想在佛教史上的地位。他说，惠能主张佛性人人皆有，创顿悟成佛之学，一方面使繁琐的佛教简易化，一方面也使从印度传入的佛教中国化。因此，他被视为禅宗的真正创始人。&lt;br /&gt;
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3.Mao Zedong also talked about the position of Huineng's thought in the history of Buddhism. He said that Huineng advocates that everyone has the Buddha nature and creates the theory of enlightenment to become a Buddha, which, on the one hand, simplifies the tedious Buddhism and, on the other hand, makes the Buddhism introduced from India Chinese. Therefore, he is regarded as the real founder of Zen.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4.林语堂早年已立志发明“中文打字机”。当时科学严谨的汉字检索系统仍未建立起来；又由于汉字本身是符号文字而非字母文字，长期以来人们对制成中文打字机的可能性多持怀疑态度。&lt;br /&gt;
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4.In his early years, Lin yutang aspired to invent the &amp;quot;Chinese typewriter&amp;quot;. At that time, the scientific and rigorous Chinese character retrieval system had not yet been established. Because Chinese characters are symbolic characters rather than alphabetic characters, people have long been skeptical of the possibility of making Chinese typewriters.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:14, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。&lt;br /&gt;
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The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion . According to UNESCO, the Tao Te Ching is the most popular translated and published cultural masterpiece in foreign languages, except for the Bible.&lt;br /&gt;
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2.《论语》中的第一句话就是“学而时习之，不亦说乎？”可见，孔子狠强调学用结合、学以致用、言行相符。&lt;br /&gt;
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The opening sentence of The Analects of Confucius says, “It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired.” From here we see that Confucius emphasized the integration of learning with application and the consistence of words and actions.&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
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The sutra mainly records Huineng's life story and his teachings. The ideas of the Tanjing played an important role in the development of Zen Buddhism. This is the only Chinese Buddhist work that has been honored as a &amp;quot;sutra&amp;quot;.&lt;br /&gt;
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4.1939年，林语堂在美国纽约的世界笔会上发表了一篇《希特勒与魏忠贤》的演讲。他说，当今德国人有人把希特勒比为耶稣，由此他想起中国明朝有一位读书人倡议一说，称颂魏忠贤与孔夫子应当有同样的地位。&lt;br /&gt;
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In 1939, Lin Yutang made  a speech entitled “Hitler and Wei Zhongxian” at a PEN meeting held in New York City. reminded him of a Chinese scholar of the Ming Dynasty, who advocated that Wei Zhongxian, the then dictatorial chief palace eunuch, be ranked as equal of Confucius--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:29, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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1.《道德经》主要论述“道”与“德”：“道”不仅是宇宙之道、自然之道，也是个体修行即修道的方法；“德”不是通常以为的道德或德行，而是修道者所应必备的特殊的世界观、方法论以及为人处世之方法。&lt;br /&gt;
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Tao Te Ching mainly discusses &amp;quot;Dao&amp;quot; and &amp;quot;De&amp;quot; : &amp;quot;Dao&amp;quot; is not only the way of universe and nature, but also the method of individual cultivation; &amp;quot;De&amp;quot; is not the morality or virtue as commonly thought, but the special world view, methodology and way of dealing with people that a monastic should have.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。&lt;br /&gt;
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The Analects, one of the Confucian classics，is a collection of quotations and essays, which records the words and deeds of Confucius and his students. It embodies Confucius' thoughts in politics, aesthetics, moral ethics and utilitarianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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3.《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
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The Sutra of Huineng, the only one Buddist work that has been honored as &amp;quot;sutra&amp;quot;, contributes a lot to the development of Zen.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The Sutra of Hui-neng, the only Chinese Buddist work that has been honored as &amp;quot;sutra&amp;quot;, played an important role in the development of Zen Buddhism.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:32, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来辞》，还讲解了《圣经》故事，谈及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月，等等。&lt;br /&gt;
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In his book, Lin talked about the unworldliness of Chuang Tzu, praised the leusure of Tao Yuanming，and read one of Tao's prose named On Returning Home. He also explained the stories of the Bible, talked about how the Chinese people taste tea,play drinking games, watch mountains and waters, observe clouds and rocks, raise flowers and birds, enjoy the snow, listen to rain, and enjoy the air and the moon.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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In the book, Lin Yutang talks about Zhuangzi's indifference, praises Tao Yuanming's leisure, reads the song of returning home, and explains the story of the Bible. He talks about how Chinese people drink tea, how to drink, how to watch mountains, how to play with water, how to see clouds, how to learn from stones, how to raise flowers, keep birds, watch snow, listen to rain, recite wind, and play with the moon, and so on.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:34, 27 December 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
1.丝绸之路全程，从西安经安西、喀什噶尔、撒马尔罕和塞流西亚，直至推罗，直线距离是4200英里，如果加上沿途绕弯的地方，总共约有6000英里，相当于赤道的四分之一。&lt;br /&gt;
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The Silk Road runs from Xi'an through Anxi, Kashgar, Samarkand and Seleucia to Tyre at a straight distance of 4200 miles, or about 6000 miles, or a quarter of the equator, if combined with the curving.&lt;br /&gt;
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2.海上丝绸之路是指古代中国与世界其他地区进行经济文化交流交往的海上通道。2000 多年前，一条以中国徐闻港、合浦港等港口为起点的海上丝绸之路成就了世界性的贸易网络。&lt;br /&gt;
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Maritime Silk Road refers to ancient China and the rest of the world for economic and cultural exchanges of the sea channel.More than 2000 years ago, a maritime Silk Road, which started with ports such as China's Xuwen Port and Hepu Port, became a worldwide trading network.&lt;br /&gt;
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3.随着西学大举东来，国内知识分子的大力鼓吹，使得妇女问题开始受到社会的重视。&lt;br /&gt;
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With the western learning coming to the east in a large scale, the domestic intellectuals advocated vigorously, so that women's issues began to receive social attention.&lt;br /&gt;
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4.自全球化进程不断加快以来，中国教育已无可避免地成为世界教育的一部分。西学的存在,对我国教育界的认识论和理论体系，带来了什么挑战和启示呢?&lt;br /&gt;
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Since the accelerating process of globalization, China's education has inevitably become a part of the world's education.What challenges and enlightenment does the existence of western learning bring to the epistemology and theoretical system of education in China? &lt;br /&gt;
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
1.以“道”解释宇宙万物的演变，即“道生一，一生二，二生三，三生万物”，“道”乃“夫莫之命而常自然”，因而“人法地，地法天，天法道，道法自然”。&lt;br /&gt;
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He used &amp;quot;Tao&amp;quot; to explain the evolution of all things in the universe, that is, &amp;quot;Tao generates one, two, two generates three, three generates all things&amp;quot;, &amp;quot;Tao&amp;quot; is &amp;quot;Fu Mo's life is always natural&amp;quot;, so &amp;quot;man follows earth, earth follows heaven, heaven follows Tao, Tao follows nature&amp;quot;.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成;孔子去世以后，他的弟子和再传弟子代代传授他的言论，并逐渐将这些口头记诵的语录言行记录下来。&lt;br /&gt;
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The content of the Analects of Confucius involves politics, education, literature, philosophy and the truth of life. As early as the late spring and Autumn period when Confucius set up an altar to give lectures, its main content had been initially created; after Confucius died, his disciples and his disciples taught him his words from generation to generation, and gradually recorded these oral quotations, words and deeds.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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3.慧能的禅法以定慧为本，认为觉性本有，烦恼本无。直接契证觉性，便是顿悟。他说自心既不攀缘善恶，也不可沉空守寂，即须广学多闻，识自本心，达诸佛理。&lt;br /&gt;
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Huineng's Zen is based on Dinghui. He thinks that consciousness is there and worry is not. The direct evidence of consciousness is epiphany. He said that the self mind should neither climb up to good and evil, nor sink into silence. That is to say, it is necessary to learn a lot, to know the self mind, and to reach all Buddhist principles.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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4.只有快乐的哲学，才是真正深湛的哲学；西方那些严肃的哲学理论，我想还不曾开始了解人生的真义哩。 在我看来，哲学的唯一效用是叫我们对人生抱一种比一般人较轻松较快乐的态度。——林语堂《生活的艺术》&lt;br /&gt;
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Only the philosophy of happiness is really profound philosophy; I don't think those serious western philosophical theories have begun to understand the true meaning of life. In my opinion, the only effect of philosophy is to make us have a more relaxed and happy attitude towards life than ordinary people. ——The Importance of Living by Lin Yutang--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
1.天下皆知美之为美，斯恶已；皆知善之为善，斯不善已。&lt;br /&gt;
It is because every one under Heaven recognizes beauty as beauty that the idea of ugliness exists. And equally if every one recognized virtue as virtue this would merely create fresh conceptions of wickedness.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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2.有朋自远方来，不亦说乎？&lt;br /&gt;
Is it not delightful to have friends coming from distant quaters?--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。&lt;br /&gt;
The Sutra of Huineng mainly recorded life stories and teachings of Huineng. The thoughts in it played an important part in the development of Zen Buddhism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适。&lt;br /&gt;
Ling Yutang talked about Zhuangzi’s indifference to fame and wealth, and spoke highly of Tao Yuanming’s leisure.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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1.张骞出使西域,接触到西域各国的风土人情，是汉朝开始对西域各国有所了解，使汉朝与西域建立了友好关系，为后来西汉政府设置西域都护府，使西域正式归西汉政府管辖打下了基础。&lt;br /&gt;
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Zhang Qian’s mission to the Western Regions brought in contact with the customs of the Western Regions. It was the Han dynasty that began to understand the Western Regions countries, which enabled the Han dynasty to establish friendly relations with the Western Regions. Later, the Western Han government set up the Western Regions Protectorate and made the Western Regions officially returned to the Western Han government. Jurisdiction laid the foundation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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Zhang Qian's mission to the Western Regions brought him into contact with the customs and traditions of the countries in the Western Regions, and enabled the Han Dynasty to establish friendly relations with the Western Regions, which later laid the foundation for the Western Han government to set up the Western Regions Capital Protection Office, making the Western Regions officially under the jurisdiction of the Western Han government.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。&lt;br /&gt;
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Since the opening of the Maritime Silk Road during the Qin and Han Dynasties, it has always been an important bridge for the economic and cultural exchanges between the East and the West. Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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Since the opening of the Maritime Silk Road during the Qin and Han dynasties, it has been an important bridge to bridge the economic and cultural exchanges between the East and the West, and the Southeast Asian region has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。&lt;br /&gt;
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Western learning has brought various new academic achievements in modern Western modern times into China, deeply affecting the development of various academics, and many disciplines that are not valued or even existed in traditional China have also been developed under this influence.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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The gradual expansion of Western learning brought various new achievements in modern Western scholarship into China, which deeply influenced the development of various academic disciplines, and many disciplines that were not valued or even did not exist in traditional China also developed under this influence.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
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Although the Westernization Movement objectively stimulated the development of Chinese capitalism, and to a certain extent resisted the economic import of foreign capitalism, it did not make China embark on a path of prosperity.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
1.汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。&lt;br /&gt;
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Although Zhang Qian's mission to the Western Region was originally for military purposes, after the opening of the Western Region, its influence far exceeded the military scope.&lt;br /&gt;
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2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和&amp;quot;海上香料之路&amp;quot;。&lt;br /&gt;
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The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the &amp;quot;Maritime Ceramic Road&amp;quot; and the &amp;quot;Maritime Spice Road&amp;quot;.&lt;br /&gt;
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3.徐光启毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。&lt;br /&gt;
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Xu Guangqi devoted his life to the research of science and technology and wrote diligently. He was an active promoter of introducing and absorbing European science and technology, and made important contributions to the cultural exchanges between China and the West in the 17th century.&lt;br /&gt;
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4.曾国藩治军把选将作为第一要务，他说，“行军之道，择将为先。”他的选将标准是德才兼备，智勇双全，而把德放在首位。&lt;br /&gt;
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Zeng Guofan regards the election of generals as the first priority. He said, &amp;quot;The wisedom to march is to choose warriors first.&amp;quot; His selection criteria is to have both ability and political integrity, wisdom and courage, and morality is the first priority.&lt;br /&gt;
--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 04:14, 28 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
1.除了朴素的唯物主义观点，《道德经》一书中还包括大量朴素辩证法观点，如一切事物均具有正反两面。&lt;br /&gt;
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In addition to the simple materialistic view, ''Tao Te Ching'' also includes a large number of simple dialectical views, such as all things have positive and negative sides.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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Apart from the simple materialistic views, ''Tao Te Ching'' also includes a large number of simple dialectical views, for example, every coin has two sides.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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''The Analects'' embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a more concentrated manner.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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''The Analects'' embodies the political views, ethical thoughts, moral ideas and educational principles of Confucius and the Confucianism in a relatively concentrated manner.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。&lt;br /&gt;
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The Sutra mainly records the life story and teachings of Hui-neng. ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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The Sutra mainly recorded the life story and teachings of Hui-neng. The thought in ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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4.林语堂先生在《生活的艺术》中将中国人旷怀达观、陶情遣兴的生活方式和浪漫高雅的东方情调充分传达出来。&lt;br /&gt;
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In ''The Importance of Living'', Lin Yutang fully conveys the Chinese way of life of being open-minded and broad-minded, and the romantic and elegant oriental sentiment.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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In ''The Importance of Living'', Lin Yutang fully conveys the Chinese lifestyle of open-mindedness and broad-mindedness, and the  oriental sentiment of romance and elegance.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响.&lt;br /&gt;
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&amp;quot;Tao De Jing&amp;quot; is one of the greatest masterpieces in Chinese history, which has had a profound impact on traditional philosophy, science, politics, religion, etc.&lt;br /&gt;
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&amp;quot;Tao De Jing&amp;quot; is one of the greatest masterpieces in Chinese history, which has had a profound impact on traditional philosophy, science, politics and  religion, etc.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》，是孔子弟子及再传弟子记录孔子及其弟子言行而编成的语录文集，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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&amp;quot;The Analects of Confucius&amp;quot; is a collection of quotations compiled by Confucius and his disciples to record the words and deeds of Confucius and his disciples, which more concentratedly embodies the political views, ethics, moral concepts and educational principles of Confucius and Confucianism.&lt;br /&gt;
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''The Analects of Confucius''is a collection of quotations compiled byConfucius' disciples and their retransmitters to record the words and deeds of Confucius and his disciples, which more concentratedly embodies the political views, ethics, moral concepts and educational principles of Confucius and Confucianism.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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3.《坛经》是禅宗的主要经典之一,主要记载慧能的生平事迹和言教.&lt;br /&gt;
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The Tantra is one of the main Zen classics, mainly recording the life deeds and teachings of Huineng.&lt;br /&gt;
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The ''Tantra'' is one of the main classics of Zen , mainly recording the life deeds and teachings of Huineng.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂的翻译特点是通畅易懂，中等文化的读者都能看懂，这也是他探索的结果。&lt;br /&gt;
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Lin Yutang's translation features are easy to understand and can be understood by readers of intermediate culture. This is also the result of his exploration.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:31, 27 December 2020 (UTC)&lt;br /&gt;
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Lin Yutang's translation is characterized by its fluency and comprehensiveness, which is also the result of his exploration.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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1.先秦时期，连接中国东西方交流的通道已经存在，丝绸正式西传始于西汉通西域，丝绸之路真正形成始于西汉张骞凿空。&lt;br /&gt;
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The pre-Qin period, connecting China's East and West exchange channel has existed, the official western transmission of silk began in the Western Han Dynasty through the Western Regions, the Silk Road really formed from the Western Han Dynasty Zhang Qian chiseling.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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In the pre-Qin period, a channel connecting China's east and west already existed. The official spread of silk to the west began in the Western Han Dynasty, and the real formation of the Silk Road began when Zhang Qian's hollowed out in the Western Han Dynasty.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。&lt;br /&gt;
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The Maritime Silk Road, also known as the &amp;quot;Maritime Route of Ceramics&amp;quot; and the &amp;quot;Maritime Route of Spices&amp;quot;, was first mentioned by the French orientalist Chavannes in 1913, and is a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the &amp;quot;Sea Ceramic Road&amp;quot; and &amp;quot;Sea Spice Road&amp;quot;. It was first mentioned in 1913 by the French orientalist Shawan.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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3.明代万历年间，以利玛窦为代表的西书七千部传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。&lt;br /&gt;
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During the Wanli period of the Ming Dynasty, the seven thousand missionaries of the Western Book, represented by Matteo Ricci, came to China to preach, and at the same time brought Western technology and culture. This has touched the traditional Chinese thought and culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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During the Wanli period of the Ming Dynasty, 7,000 missionaries represented by Matteo Ricci came to China to preach, and at the same time brought Western technology and culture. This has touched traditional Chinese thought and culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动，又称自强运动，是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
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The Foreign Affairs Movement, also known as the Self-Strengthening Movement, was a self-help movement conducted by the Foreign Affairs faction of the late Qing Dynasty from the 1860s to the 1990s to introduce Western military equipment, machinery production and science and technology to save the Qing Dynasty.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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The Westernization Movement, also known as the Self-Strengthening Movement, was a self-rescue movement carried out by the Westernization Movement from the 1860s to the late Qing Dynasty that introduced Western military equipment, machine production, and science and technology to save the Qing rule.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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1.老子生于春秋战国时期，当时的环境是周朝势微，各诸侯为了争夺霸主地位，战争不断。严酷的动乱与变迁，让老子目睹到民间疾苦，作为周朝的守藏史，于是他提出了治国安民的一系列主张。&lt;br /&gt;
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Laozi was born in the Spring and Autumn Period and the Warring States Period. At that time, the Zhou Dynasty was in a weak state. As the official historian of Zhou Dynasty, Lao Zi put forward a series of propositions of governing the country and keeping the people safe.&lt;br /&gt;
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2.作为儒家经典的《论语》，其内容博大精深，包罗万象，《论语》的思想主要有三个既各自独立又紧密相依的范畴：伦理道德范畴——仁，社会政治范畴——礼，认识方法论范畴——中庸。&lt;br /&gt;
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As a Confucian classic, the Analects of Confucius has a broad and profound content and is all-embracing. The thoughts of the Analects of Confucius mainly consist of three independent and closely related categories: ethical and moral category -- benevolence, social and political category -- rites, and cognitive methodology category -- the doctrine of the mean.&lt;br /&gt;
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3.慧能偈曰：&lt;br /&gt;
菩提本无树，明镜亦非台。&lt;br /&gt;
本来无一物，何处惹尘埃？&lt;br /&gt;
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My stanza read:  &lt;br /&gt;
There is no Bodhi-tree, &lt;br /&gt;
Nor there’s a mirror bright. &lt;br /&gt;
Since all is void in fact,&lt;br /&gt;
Say, where can dust alight?&lt;br /&gt;
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4.幽默大师林语堂以人生优游者的独特视角，诠释中国人“生活的艺术”，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。&lt;br /&gt;
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Lin Yutang, a humorist, interprets the &amp;quot;art of life&amp;quot; of The Chinese people from the unique perspective of a good traveler in life, showing a unique style of poetic life, talented life, humorous life and intelligent life.&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:29, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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1.《道德经》是中国古代先秦诸子分家前的一部著作，是道家哲学思想的重要来源。&lt;br /&gt;
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1.The Tao Te Ching is a work before the division of pre-Qin scholars in ancient China, and is an important source of Taoist philosophy.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)&lt;br /&gt;
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2.《论语》以语录体为主，叙事体为辅，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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2.The Analects is mainly based on the quotation style, supplemented by the narrative style, which more concentratedly reflects the political propositions, ethics, moral concepts and educational principles of Confucius and Confucianism.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
&lt;br /&gt;
3.The scriptures mainly record the life deeds and teachings of Huineng. According to the theory of &amp;quot;self-nature is pure&amp;quot;, it promotes the basic idea of &amp;quot;understanding the mind and seeing the nature&amp;quot; and &amp;quot;understanding to become a Buddha&amp;quot;. The idea of &amp;quot;Tan Sutra&amp;quot; played an important role in the development of Zen. This is the only one that is honored as the &amp;quot;Sutra&amp;quot; in Chinese Buddhist works.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)&lt;br /&gt;
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4.林语堂将中国人旷怀达观，陶情遣兴的生活方式和浪漫高雅的东方情调皆诉诸笔下，向西方人娓娓道出了一个可供仿效的完美生活方式的范本、快意人生的典型，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。&lt;br /&gt;
&lt;br /&gt;
4Lin Yutang appealed to the Chinese people's open mindedness, Tao Qingqianxing's lifestyle and romantic and elegant oriental sentiment, and he presented a model of perfect lifestyle and a model of happy life that can be imitated to Westerners. Shows the unique style of poetic life, talented life, humorous life, and wise life.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC).&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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《道德经》与中医渊源颇深, 其中许多论点与中医理论有相通之处。&lt;br /&gt;
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Tao Te Ching is deeply connected with Traditional Chinese medicine, and many of its arguments have something in common with Chinese medicine theories.&lt;br /&gt;
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《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行。&lt;br /&gt;
&lt;br /&gt;
The Analects is one of the classic works of Confucianism. It is a collection of opinion records of prose writings, mainly in the form of quotations and dialogues, recording the words and deeds of Confucius and his disciples.&lt;br /&gt;
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《坛经》是佛学中国化、大众化最为成功的典型之一。&lt;br /&gt;
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The Sutra of Hui-neng is one of the most successful representative of sinicization and popularization of Buddhism.&lt;br /&gt;
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其实,生活于我无意义,快乐地过好每一天最为重要。应该说,这种感受得益于林语堂的《生活的艺术》一书。&lt;br /&gt;
In fact, while life is meaningless, what matters to me is leading a happy life everyday. This comprehension should be credited to the The Importance of Living written by Lin Yutang. --[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:34, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
1.《道德经》不仅在中国影响深远而广泛，而且漂洋过海，传遍了世界五大洲，深受外围人的青眯，引起浓厚的学习兴趣和研究热情。他们赞誉《道德经》为“东方智慧的结晶”。当代西方流行广泛的一句话，就是老子是国际性的，目前研究老子思想已成为一种国际性的文化现象。&lt;br /&gt;
&lt;br /&gt;
''The Tao Te Ching'' not only has a far-reaching influence in China, but also has spread all over the five continents of the world. They praised''the Tao te ching'' for the “crystallization of Eastern Wisdom. A popular saying in the west today is that Laozi is international, and the study of Oigo’s thought has become an international cultural phenomenon.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
''Tao Te Ching'' not only has exerted a far-reaching influence in China, but also has spread all over the five continents of the world. They praised''Tao te ching'' for the “crystallization of Eastern Wisdom. A popular saying in the west today is that Laozi is international, and the study of Laozi’s thought has become an international cultural phenomenon.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 04:09, 28 December 2020 (UTC)&lt;br /&gt;
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2.作为儒家最经典和最受欢迎的著作，《论语》不仅是中国传统最核心的作品之一，而且是中国人伦理道德标准和行为准则的核心。《论语》中蕴含的儒家思想是中华民族的宝贵财富。自从16世纪末以来，《论语》被中西方学者源源不断地翻译，并且传播到世界各地。&lt;br /&gt;
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As the most classical and popular works of Confucianism, ''the Analects'' is not only one of the core works of Chinese tradition, but also the core of Chinese ethical standards and codes of conduct. The Confucian thought contained in ''the Analects'' is the precious wealth of the Chinese nation. Since the end of the 16th century, ''the Analects'' has been continuously translated by Chinese and Western scholars and spread all over the world.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
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3.《慧能经》不仅是研究惠能思想的重要资料,而且是具有中国特色的佛教禅宗一派的重要经典,在中国佛教思想史、哲学史上具有深远的影响。&lt;br /&gt;
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''The Sutra of Huineng'' is not only an important material to study Huineng’s thought, but also an important classic of Zen Buddhism with Chinese characteristics. It has a far-reaching influence on the history of Chinese Buddhist thought and philosophy.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是一本与你畅谈如何听风赏月的家常闲聊，又是一本关乎生活态度甚至生活智慧的严肃论文。林语堂从生活、家庭、文化、旅行、思想、宗教等方面探讨人必须学会享受生命。&lt;br /&gt;
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''The Importance of Living'' is a book about how to feel the wind, enjoy the moon. It is also a serious essay about life attitude and even life wisdom. Lin Yutang analyzed from the aspects of life, family, culture, travel, thought, religion and so on. Then he drew a conclusion that people must learn to enjoy life.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
==Zubareva, Ekaterina==&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201228_cult&amp;diff=119502</id>
		<title>20201228 cult</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201228_cult&amp;diff=119502"/>
		<updated>2020-12-28T04:17:00Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Alsied, Saffana==&lt;br /&gt;
&lt;br /&gt;
==Cao Runxin 曹润鑫==&lt;br /&gt;
1.道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。&lt;br /&gt;
&lt;br /&gt;
The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics and religion.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
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2.《论语》多为语录，但都辞约义富，有些语句、篇章形象生动。&lt;br /&gt;
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The Analects are mostly discourses, but all of them are rich in diction and meaning, and some of them are vividly illustrated.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
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3.《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
&lt;br /&gt;
The ideas of The Sutra played an important role in the development of Zen Buddhism. This is the only Chinese Buddhist work to be honoured as a 'sutra'.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
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4.林语堂将中国人旷怀达观，陶情遣兴的生活方式，和浪漫高雅的东方情调皆诉诸笔下，向西方人娓娓道出了一个可供仿效的“生活最高典型”的模式。&lt;br /&gt;
&lt;br /&gt;
Lin Yutang's writing brings to life the Chinese way of life, with its open-mindedness and optimism, as well as the romantic elegance of the East, and presents to Westerners a model of the 'highest form of life' to be emulated.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:17, 28 December 2020 (UTC)&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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==Dashkin, Gennadii==&lt;br /&gt;
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1.When people see some things as beautiful, other things become ugly. When people see some things as good, other things become bad. &lt;br /&gt;
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当人们将某些事物视为美丽时，其他事物则变得丑陋。当人们将某些事情视为好事时，其他事情则变得不好。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
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2.In China, the work has been by many attributed to Confucius himself, but the philological investigations to date do not allow to go back to a reliable source, partly because of the devastating book burning of 213 BC by the First Emperor Qin Shi Huang. &lt;br /&gt;
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在中国，许多人把这本书归功于孔子本人，但迄今为止的语言研究还不能追溯到可靠的来源，部分原因是秦始皇秦始皇于公元前213年毁灭性地烧毁了这本书。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
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3.One realizes it, while another is ignorant of it. &lt;br /&gt;
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一个人意识到了这一点，而另一个人则一无所知。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
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4.Perhaps I don’t understand economics, but economics does not understand me, either. &lt;br /&gt;
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也许我不了解经济学，但经济学却不了解也了解我.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:26, 27 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
1. 道可道，非常道；名可名，非常名。&lt;br /&gt;
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The Tao that can be trodden is not the enduring and unchanging Tao.&lt;br /&gt;
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The name that can be named is not the enduring and unchanging name.&lt;br /&gt;
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2. 子曰：“学而时习之，不亦悦乎？有朋自远方来，不亦乐乎？人不知而不愠，不亦君子乎？”&lt;br /&gt;
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The Master said, To learn and at due times to repeat what one has learnt, is that not after all a pleasure? That friends should come to one from afar, is this not after all delightful? To remain unsound even though one's merits are unrecognized by others, is that not after all what is expected of a gentleman?&lt;br /&gt;
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3. 菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。&lt;br /&gt;
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No such thing as the Budhi tree,&lt;br /&gt;
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Nor a mirror stand that can be.&lt;br /&gt;
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There is nothing in the first place,&lt;br /&gt;
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Whereon can the dust and dirt creep?&lt;br /&gt;
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4. 生之享受包括许多东西：我们本身的享受、家庭生活的享受，树木、花朵、云霞、溪流、瀑布，以及大自然的形形色色，都足以称为享受；此外又有诗歌、艺术、沉思、友情、谈天、读书等的享受，后者的这些都是心灵交流的不同表现。&lt;br /&gt;
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The enjoyment of life covers many things: the enjoyment of ourselves, of home life, of trees, flowers, clouds, winding rivers and falling cataracts and the myriad things in Nature, and then the enjoyment of poetry, art, contemplation, friendship, conversation, and reading, which are all some form or other of the communion of spirits.&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:26, 27 December 2020 (UTC)&lt;br /&gt;
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The enjoyment of life includes many things: our own enjoyment, the enjoyment of family life, trees, flowers, clouds, streams, waterfalls, and all kinds of nature are enough to be called enjoyment; in addition, there are poetry, art, contemplation, the enjoyment of friendship, chatting, reading, etc., the latter are all different manifestations of spiritual communication.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:54, 27 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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1.老子曾做过周朝守藏史，后退隐，作《道德经》，其思想的核心是“道”。&lt;br /&gt;
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Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he retired from public life. It is widely believed that he was the author of Tao Te Ching and the core of Lao Zi's thought is &amp;quot;Tao&amp;quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he lived in seclusion. It is widely believed that he was the author of Tao Te Ching and the core of his thoughts is &amp;quot;Tao&amp;quot;.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
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Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before his retirement. Later he created the Tao Te Ching, of which the core thought is &amp;quot;Tao&amp;quot;.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》记录了孔子的言行。它涵盖了广泛的主题，从政治、哲学、文学和艺术到教育再到道德修养。&lt;br /&gt;
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The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature and art to education to moral cultivation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature to art,and from education to moral cultivation.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
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The Analects recorded Confucius' words and deeds. It covers a wide range of topics, from politics, philosophy, literature and art to education to moral cultivation.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)&lt;br /&gt;
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3.惠能禅学思想的主要特点是“识心见性”和“顿悟成佛”。&lt;br /&gt;
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The main features of Hui Neng's Zen thoughts are &amp;quot;knowing the heart and seeing the nature&amp;quot; and &amp;quot;becoming Buddha by epiphany&amp;quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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Hui Neng's Zen thoughts are characterized by &amp;quot;knowing the heart and seeing the nature&amp;quot; and &amp;quot;becoming Buddha by epiphany&amp;quot;.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是一本洗涤心灵的书籍，是一杯好茶，是一种良药。阅读此书能使我们被尘沙玷污的心灵洗涤，使我们能在嚣闹的城市中得到宁静。&lt;br /&gt;
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The Importance of Living is a book for washing the soul, a good cup of tea and a good medicine. Reading this book can wash our hearts polluted by dust and sand, and make us get peace in the noisy city.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)&lt;br /&gt;
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The Importance of Living is a book for refreshing the soul, a good cup of tea and a good medicine. Reading this book can purify our hearts tarnished by dust and sand, and make us get peace in the noisy city.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)&lt;br /&gt;
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The Importance of Living is a book that cleanses the mind, a cup of good tea and a good medicine. Reading this book can wash our hearts stained with dust and allow us to find peace in noisy cities--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响 。&lt;br /&gt;
&lt;br /&gt;
Tao Te Ching is one of the greatest masterpieces in Chinese history, which has a profound influence on traditional philosophy, science, politics and religion. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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As one of the greatest masterpieces in Chinese history, Tao Te Ching has a profound influence on traditional philosophy, science, politics and religion.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)&lt;br /&gt;
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2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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The Analects embodies the political ideas, ethical thought, moral concepts and educational principles of Confucius and Confucianism. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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The Analects embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and Confucianism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC) &lt;br /&gt;
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3.《慧能经》主张世上一切事物空幻不实，即对于现实世界不应执著或留恋。&lt;br /&gt;
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The Sutra of Hui-neng holds that everything in the world is empty and unreal, that is, it should not be persistent or nostalgic for the real world.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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The Sutra of Hui-neng holds that everything in the world is illusory, that is, it should not be persistent or nostalgic for the real world.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是林语堂旅美专事创作后的第一部书，该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周。&lt;br /&gt;
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The Importance of Living is Lin Yutang's first book, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)&lt;br /&gt;
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The Importance of Living is Lin Yutang's first book after his study in the United States, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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==Grosheva, Anna==&lt;br /&gt;
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1. Yet mystery and manifestations arise from the same source. This source is called darkness. &lt;br /&gt;
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然而神秘和表现来自同一来源。这种来源称为黑暗。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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2. Started during the Spring and Autumn Period, the work of collection and organization of Confucian teachings was probably completed during the Warring States Period, although the precise date of publication of the complete work is unknown. &lt;br /&gt;
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春秋时期开始，儒家教义的收集和整理工作可能是在战国时期完成的，尽管确切的出版日期尚不清楚。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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3. Through ten chapters, the Platform Sutra cites and explains a wide range of Mahayana Buddhist scriptures. &lt;br /&gt;
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在十章中，《纲经》引用并解释了大乘佛教经文。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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4. The ancient people who desired to have a clear moral harmony in the world would first order their national life. &lt;br /&gt;
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希望在世界上建立清晰的道德和睦的远古民族首先会下定民族生活。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:34, 27 December 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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1.《论语》是儒家的经典著作之一，它是对孔子及其弟子的言行和对话的记录。众所周知，孔子是一位伟大的思想家和哲学家，他的思想被发展成了的儒家哲学体系。《论语》是儒家思想的代表作，数个世纪以来，《论语》一直极大地影响着中国人的哲学观和道德观，它也影响着其他亚洲国家人民的哲学观和道德观。&lt;br /&gt;
&lt;br /&gt;
The Analects of Confucius is one of the Confucius classics and is a record of the words and acts of Confucius and his disciples,as well as the conversations they held.It's&lt;br /&gt;
well known that Confucius is agreat ideologist and philosopher,and his thoughts have been developed into a system of philosophyknownasConfucianism.The Analects ofConfucius&lt;br /&gt;
is a representative work of Confucianism.For centuries, it has been heavily influencing the philosophy and moral outlook of Chinese people and that of the people of other Asian countries as well.&lt;br /&gt;
&lt;br /&gt;
2.慧能的两个核心理念成为了正统佛教的精髓要义，其一，“无论社会阶层，无论精神文化，一切众生皆有佛性”；其二，“醒觉并非依靠冥想渐悟，而是一种瞬间的顿悟。”&lt;br /&gt;
&lt;br /&gt;
His two key ideas became the essence of orthodox Buddhism, namely that &amp;quot;all people,regardless of their social, culturalor spiritual condition, possess the Buddha nature&amp;quot; and that &amp;quot;awakening is not a meditation but a sudden, instantaneous process.&amp;quot; &lt;br /&gt;
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3.一次，学生子贡问孔子：“有一言而可以终身行之者乎？”子曰：“其恕乎。己所不欲，勿施于人。”&lt;br /&gt;
&lt;br /&gt;
Once,Zi Gong, one of Confucius’ disciples, asked the philosopher: “Is there any one word that can guide one throughout his life?”Confucius answered:“&lt;br /&gt;
Maybe it’s magnanimity! What you do not want done to yourself, do not do to others.”&lt;br /&gt;
&lt;br /&gt;
4.《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，接连再版四十余次，并为十余种文字所翻译。 &lt;br /&gt;
&lt;br /&gt;
&amp;quot;The Art of Life&amp;quot; is the first book created by Lin Yutang in the United States, and it is also another English work that has achieved success after &amp;quot;My Country and My People&amp;quot;. The book was published in the United States in 1937, reprinted more than forty times, and translated into more than ten languages.--[[User:Guan Qinqing|Guan Qinqing]]&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
&lt;br /&gt;
==Guirou, Barthelemy==&lt;br /&gt;
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1. Laozi in the Tao Te Ching explains that the Tao is not a &amp;quot;name&amp;quot; for a &amp;quot;thing&amp;quot; but the underlying natural order of the Universe whose ultimate essence is difficult to circumscribe due to it being non-conceptual yet evident in one's being of aliveness.&lt;br /&gt;
&lt;br /&gt;
《道德经》中的老子解释道是不是“事物”的“名称”，而是宇宙的内在自然秩序，由于其非概念性但在生命力中很明显，其最终本质很难被限制。&lt;br /&gt;
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2. Analects is the China’s sacred book, the representative work of Confucianism. A collection of answers of dialogues between Confucius and his disciples.&lt;br /&gt;
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《论语》是中国的圣书，是儒家的代表作。孔子与门徒之间对话的答案的集合。&lt;br /&gt;
&lt;br /&gt;
《论语》是中国的圣书，是儒家的代表作。 孔子与门徒对话的答案集。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:38, 27 December 2020 (UTC)&lt;br /&gt;
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3. Lin Yutang was a Chinese inventor, linguist, novelist, philosopher, and translator. His informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the West.&lt;br /&gt;
&lt;br /&gt;
林语堂是中国发明家，语言学家，小说家，哲学家和翻译家。他的中英文不拘一格但又优美的风格使他成为这一代人中最有影响力的作家之一，他将经典的中国文字汇编和翻译成英文在西方是畅销书。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:36, 27 December 2020 (UTC)&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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==Ha, Thi Thu Hang==&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。&lt;br /&gt;
&lt;br /&gt;
The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries.&lt;br /&gt;
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2.海上丝绸之路形成于汉武帝时期。南海航线从中国出发，向西航行，是海上丝绸之路的主线。&lt;br /&gt;
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The maritime silk road was formed in the time of Emperor Wu of Han Dynasty. The South China Sea route, which starts from China and sails westward, is the mainstream of the maritime silk road.&lt;br /&gt;
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3.苏曼殊浪漫主义不是西学东渐的直接产物，而是固有文化生态发生结构变动之结果。&lt;br /&gt;
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The formation of Su Manshu's romantic style was not the direct result of the eastward spread of Western learning but was the natural outcome of structural change in China's innate cultural ecosystem. &lt;br /&gt;
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4.洋务派是中国近代最早的全面系统地接触近代科学技术的一个政治派别。&lt;br /&gt;
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Advocates of the westernization movement was the first political school that touched modern science and technology comprehensively and systematically in China.&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
1. 《道德经》简称老子，是中国的经典文本。根据传统，它是由公元前6世纪的圣人老子所写，老子是周朝的一位记录者，在中国广为人知。尽管最早出土的文字可以追溯到公元前4世纪晚期，但文字的真正作者和撰写或编纂日期仍有争议。&lt;br /&gt;
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1. The Tao Te Ching simply referred to as the Laozi，is a Chinese classic text. According to tradition, it was written around 6th century BC by the sage Laozi, a record-keeper at the Zhou dynasty court, by whose name the text is known in China. The text's true authorship and date of composition or compilation are still debated, although the oldest excavated text dates back to the late 4th century BC.&lt;br /&gt;
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2. 《论语》是儒家学派的经典著作之一，由孔子的弟子及其再传弟子编撰而成。它以语录体和对话文体为主，记录了孔子及其弟子言行，集中体现了孔子的政治主张、论理思想、道德观念及教育原则等。&lt;br /&gt;
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2. The Analects is one of the classical works of Confucianism, compiled by the disciples of Confucius and his disciples. It is mainly in the style of discourses and dialogues, recording the words and deeds of Confucius and his disciples, concentrating on Confucius' political ideas, theoretical thoughts, moral concepts and educational principles.&lt;br /&gt;
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3. 《慧能经》附有慧能对《金刚经》的逐条注释——这是它有史以来第一次出版的英文译本。他的谈话集也被称为《六祖坛经》，是唯一的禅宗记录，一般被尊称为经，或经文。&lt;br /&gt;
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3. The Sutra of Hui-neng is here accompanied by Hui-neng's verse-by-verse commentary on the Diamond Sutra—in its very first published English translation ever.This collection of his talks, also known as the Platform or Altar Sutra, is the only Zen record of its kind to be generally honored with the appellation sutra, or scripture.&lt;br /&gt;
&lt;br /&gt;
4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。&lt;br /&gt;
&lt;br /&gt;
4. “The Art of Living” was Lin Yutang's first book after he had traveled to the U.S. and was another successful work in English. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was reprinted more than forty times and translated into more than a dozen languages.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 07:31, 25 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The Art of Living&amp;quot; was the first book created by Lin Yutang in the United States, and it is also another English work that has been successful since then. The book was published in the United States in 1937, and it ranked first in the United States bestseller list for 52 weeks in the following year,and has been republished more than forty times, and has been translated for more than ten languages.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:57, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。&lt;br /&gt;
&lt;br /&gt;
''The Art of Living'' was Lin Yutang's first book after he had traveled to the U.S. and was another successful English work after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks at the following year. Besides, it was reprinted more than forty times and translated into more than a dozen languages.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:20, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
1. 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。、&lt;br /&gt;
&lt;br /&gt;
Tao Te Ching is one of the greatest masterpieces in Chinese history, which has a profound impact on traditional philosophy, science, politics and religion. --[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)&lt;br /&gt;
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2.《论语》中保留了一些人们对孔子师徒的批评讽刺，有的作了辩驳，有的没有回答。&lt;br /&gt;
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The Analects of Confucius retains some criticisms and ironies of Confucius' teachers and disciples, some of which have made refutation, while others have not.&lt;br /&gt;
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3. 慧能的禅法以定慧为本，认为觉性本有，烦恼本无。&lt;br /&gt;
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Huineng's Zen method is based on determining wisdom, thinking that awareness is inherent, but troubles are not.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)&lt;br /&gt;
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4. 《活着》是作家余华的代表作之一，讲述了在大时代背景下，随着内战、三反五反，大跃进，文化大革命等社会变革，徐福贵的人生和家庭不断经受着苦难，到了最后所有亲人都先后离他而去，仅剩下年老的他和一头老牛相依为命。&lt;br /&gt;
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Living is one of Yu Hua's representative works, which tells how Xu Fugui's life and family are constantly suffering with the civil war, the three anti-five evils, the Great Leap Forward, the Cultural Revolution and other social changes. In the end, all his relatives have left him one after another, leaving only an old cow.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 28 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
1.《道德经》九九八十一章，可理解为《道经》（上篇）和《德经》（下篇）两个部分，言简意赅、博大精深。大至宇宙、小至微尘，大无其外，小无其内；有修身、用人、治国。&lt;br /&gt;
&lt;br /&gt;
The eighty-one chapters of the Tao Te Ching, which can be understood as two parts, the Tao Te Ching (upper part) and the De Te Ching (lower part), are concise and profound. It is as big as the universe and as small as the dust; there is no outside of the big and no inside of the small; there is the cultivation of the body, the use of people and the governance of the country.&lt;br /&gt;
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2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。&lt;br /&gt;
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The Analects, one of the classics of Confucianism, is mainly a collection of essays in the form of discourses and dialogues, recording the words and deeds of Confucius and his disciples, concentrating on the political, aesthetic, moral, ethical and utilitarian values of Confucius.&lt;br /&gt;
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3.相传，有一位名叫慧能的砍柴夫，虽然目不识丁，却开创了佛教的南禅宗派，提出“人人皆有佛性”，进而确立“顿悟成佛”之学。&lt;br /&gt;
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According to legend, an illiterate woodsman called Huineng founded the &amp;quot;Sudden Enlightenment&amp;quot; or the Southern Chan School of Buddhism and propounded the idea that everyone possesses &amp;quot;the Buddha nature.&amp;quot;&lt;br /&gt;
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4.生活是10%的经历，和90%的态度。我们无时无刻不在书写我们的生活经历，我们可以选择生活的台词。当下，我们可以放下自我怀疑、愤怒、沮丧。当下，我们可以选择幸福。&lt;br /&gt;
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Life is 10% what happens to you and 90% how you interpret it and put it into perspective.Right now we're writing our life stories, and we can choose how the script will read. Right now we can put behind us self-doubt, anger, frustration. Right now, we can choose happiness.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:18, 27 December 2020 (UTC)&lt;br /&gt;
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Life is 10% experience and 90% attitude. Right now we're experiencing our life, and we can choose how to live. Right now we can put behind our self-doubt, anger, frustration. Right now, we can choose happiness.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:22, 28 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
1、丝绸之路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。数千年来，游牧民族或部落、商人、教徒、外交家、士兵和学术考察者沿着丝绸之路四处活动。&lt;br /&gt;
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The Silk Road is considered to be the ancient crossroads of eastern and western civilizations linking Asia and Europe, with Silk being the most iconic cargo. For thousands of years, nomadic peoples or tribes, merchants, religious, diplomats, soldiers and academic researchers moved around along the Silk Road.&lt;br /&gt;
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2、郑和七次奉旨率船队远航西洋，航线从西太平洋穿越印度洋，直达西亚和非洲东岸，途经30多个国家和地区。他的航行比哥伦布发现美洲大陆早87年，比达·伽马早92年，比麦哲伦早114年。在世界航海史上，他开辟了贯通太平洋西部与印度洋等大洋的直达航线。&lt;br /&gt;
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Zheng He was ordered to lead seven voyages to the Atlantic Ocean, with routes from the western Pacific Ocean across the Indian Ocean to West Asia and the east coast of Africa, passing through more than 30 countries and regions. His voyage was 87 years before Columbus discovered the American continent, 92 years before Da Gama, and 114 years before Magellan. In the history of world navigation, he opened up a direct route through the western Pacific Ocean and the Indian Ocean and other great oceans.&lt;br /&gt;
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3、西学书籍的翻译和著述，是西学东渐相当重要的媒介，在当时出现了大量的由教士及士大夫合著合译的书籍，但这些书籍未能受到当时一般社会的重视，也未能打入晚明已十分发达的商业出版界，因此虽西学书籍有刻印出版，但主要仍仅流通于少数有兴趣的士大夫阶层。&lt;br /&gt;
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The translation and writing of books on Western studies was an important medium for the gradual expansion of Western studies to the east. A large number of books co-authored and translated by clergy and scholars emerged at that time, but these books were not taken seriously by the general society at that time, nor did they penetrate into the commercial publishing world, which was already well developed in the late Ming Dynasty.&lt;br /&gt;
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4、随着军事工业的创办，洋务派认识到，强大的国防基础在于整个国家经济的发展，要求能源、钢铁等工业与之配套。同时，为了维护民族利益，也必须发展民族经济，与洋人&amp;quot;商战&amp;quot;、&amp;quot;争利&amp;quot;。于是，他们提出了求富的口号，民用工业和新式交通运输业也发展起来了。&lt;br /&gt;
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With the founding of the military industry, the School of Westernization realized that the basis of a strong national defense lay in the development of the entire national economy, requiring energy, steel and other industries to go along with it. At the same time, in order to safeguard national interests, it was also necessary to develop the national economy and to &amp;quot;negotiate&amp;quot; and &amp;quot;compete for profits&amp;quot; with the foreigners. Thus, they put forward the slogan of seeking wealth, and the civil industry and new transportation industry were developed.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 14:10, 26 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
1. 写于两千多年前的《道德经》是真正的精神文学经典之一。它是一个培养和平、宁静和同情的指南。&lt;br /&gt;
Written more than two thousand years ago, the Tao Te Ching is one of the true classics of spiritual literature. It is a guide to cultivating peace, serenity, and compassion.&lt;br /&gt;
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The Tao Te Ching, written more than two thousand years ago, is one of the true spiritual literature classics. It is a guide to cultivate peace, tranquility and compassion.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:35, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》写于春秋战国时期（约公元前479年至公元前221年），被认为是儒家思想最具代表性的著作之一，至今仍对中国文化和东亚产生了重大影响。&lt;br /&gt;
Written during the Period of Spring and Autumn and Warring States Period (ca. 479 BC - 221 BC), the Analects are considered among the most representative works of Confucian thought, and still have a great influence on Chinese culture and East Asia.&lt;br /&gt;
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3.慧能（638-713）也许是禅宗中最受人喜爱和尊敬的人物。他本是一个目不识丁的樵夫，却一下子获得了觉悟，成为中国禅宗的第六宗师，被誉为“顿悟派”的创始人。&lt;br /&gt;
Hui-neng (638–713) is perhaps the most beloved and respected figure in Zen Buddhism. An illiterate woodcutter who attained enlightenment in a flash, he became the Sixth Patriarch of Chinese Zen, and is regarded as the founder of the &amp;quot;Sudden Enlightenment&amp;quot; school.&lt;br /&gt;
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4.生活的艺术是对现代世界令人眼花缭乱的节奏的一种讽刺、诙谐的解毒剂。&lt;br /&gt;
The Importance of Living is a wry, witty antidote to the dizzying pace of the modern world.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:35, 27 December 2020 (UTC)&lt;br /&gt;
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The art of living is an ironic and witty antidote to the dazzling rhythm of the modern world.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:35, 27 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。&lt;br /&gt;
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As one of the greatest masterpieces in Chinese history, ''Tao Te Ching'' has a profound impact on traditional philosophy, science, politics, and religion.&lt;br /&gt;
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Tao Te Ching, as one of the greatest masterpieces in Chinese history, has a profound impact on traditional philosophy, science, politics and religion.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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2.孔子因材施教，对于不同的对象，考虑其不同的素质、优点和缺点、进德修业的具体情况，给予不同的教诲，表现了诲人不倦的可贵精神。&lt;br /&gt;
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Confucius taught students in accordance with their aptitude. He gave different instructions to different students, taking into account their different qualities, strengths and weaknesses, and the specific circumstances of their advancement and cultivation, showing the valuable spirit of tireless teaching.&lt;br /&gt;
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Confucius taught students in accordance with their aptitude. For different objects, he considered their different qualities, advantages and disadvantages, and the specific situation of moral education, and gave different instructions, which showed the valuable spirit of tireless teaching.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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3.近年来，中国大多数学者都认为《坛经》的基本内容代表了慧能思想，同时其中也有后人增益的成分。&lt;br /&gt;
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In recent years, most Chinese scholars believe that the basic content of the ''The Sutra of Huineng'' represents the thought of Huineng, while there are also some elements of later additions to it.&lt;br /&gt;
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In recent years, most Chinese scholars believe that the basic content of Tanjing represents Huineng's thought, and it also contains the later additions.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，被翻译为十余种文字全球发行。&lt;br /&gt;
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''The Importance of Living'' was the first book after Lin Yutang had traveled to the United States and was another successful work in English after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was republished more than forty times and translated into more than a dozen languages for global distribution.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:14, 25 December 2020 (UTC)&lt;br /&gt;
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''The Art of Life'' is the first book written by Lin Yutang after his trip to the United States. It is also another successful English work after ''My Country and My People''. The book was published in the United States in 1937. The following year, it ranked the top of the best seller list in the United States for 52 weeks. It has been reprinted for more than 40 times and has been translated into more than 10 languages for global distribution.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
1、传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。这条路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。&lt;br /&gt;
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The traditional Silk Road, which started from Chang'an, the ancient capital of China, and reached the Mediterranean Sea via Central Asian countries, Afghanistan, Iran, and Syria, and ended in Rome, was 6,440 kilometers long. This road is considered to be the intersection of ancient eastern and western civilizations linking Asia and Europe, and silk is the most representative cargo. The road reached the Mediterranean Sea from Iraq, Syria, etc. and ended in Rome, with a total length of 6,440 kilometers. This road is considered to be the crossroads of ancient civilizations between East and West, linking Asia and Europe, and silk is the most representative cargo.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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The traditional Silk Road started in the ancient Chinese capital of Chang'an, and reached the Mediterranean through Central Asian countries, Afghanistan, Iran, Iraq, Syria, etc., ending in Rome, with a total length of 6,440 kilometers. This road is considered to be the intersection of the ancient Eastern and Western civilizations connecting Asia and Europe, and silk is the most representative goods.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:59, 27 December 2020 (UTC)&lt;br /&gt;
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2、东海航线，也叫“东方海上丝路”。春秋战国时期，齐国在胶东半岛开辟了“循海岸水行”直通辽东半岛、朝鲜半岛、日本列岛直至东南亚的黄金通道。唐代，山东半岛和江浙沿海的中韩日海上贸易逐渐兴起。宋代，宁波成为中韩日海上贸易的主要港口。&lt;br /&gt;
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The East Sea Route, also known as the &amp;quot;Eastern Sea Silk Road&amp;quot;. During the Spring and Autumn Period and the Warring States Period, the State of Qi opened up a golden route on the Jiaodong Peninsula, which led to the Liaodong Peninsula, the Korean Peninsula, the Japanese islands and Southeast Asia. During the Tang Dynasty, the maritime trade between China, Korea and Japan on the Shandong Peninsula and the coast of Jiangsu and Zhejiang gradually emerged. During the Song Dynasty, Ningbo became the main port for maritime trade between China, Korea and Japan.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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3、东学西渐指的是一个和西学东渐互相补充的东西方文化交流过程。东学西渐有一千多年的历史，对世界文化的发展有十分深远的影响。&lt;br /&gt;
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Eastern learning and Western learning refers to a process of cultural exchange between East and West that complements Western learning and Eastern learning. With a history of over a thousand years, East to West has had a profound impact on the development of world culture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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4、洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
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Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)&lt;br /&gt;
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Although the Westernization Movement objectively stimulated the development of Chinese capitalism and resisted the economic input of foreign capitalism to a certain extent, it did not make China prosperous and strong.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
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==Lo, Minh Thao==&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
1 《道德经》是中国古代哲学著作。又称《老子》，被道教作为重要经典收入道藏。共81章，分上、下篇。此刻通行本上篇言道，下篇言德。其中有不少和生活有关的处世哲理。&lt;br /&gt;
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Tao Te Ching is an ancient Chinese philosophical work.Also known as Laozi, Taoism as an important classic into the Collection of Taoism. A total of 81 chapters, divided into the first and second. At this moment, the first text of the passage, the next text of virtue.There are a lot of life related philosophy.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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2 《论语》，是孔子弟子及再传弟子记录孔子及其弟子言行而编成的语录文集，成书于战国前期。全书共20篇492章，以语录体为主，叙事体为辅，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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The Analects of Confucius is a collection of quotations compiled by Confucius and his disciples to record their words and deeds. It was written in the early period of the Warring States Period. The book consists of 20 chapters, with quotations as the main body and narration as the auxiliary body, which mainly reflects the political propositions, ethical thoughts, moral concepts and educational principles of Confucius and The Confucian school.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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3 慧能俗姓卢，原籍河北范阳（今北京大兴）。他的父亲贬官到了岭南新州（今广东新兴），生下了慧能。慧能年轻时父亲去世，家境贫寒，靠打柴卖柴来养活母亲。&lt;br /&gt;
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Hui Neng was born in Fanyang, Hebei province (now Daxing, Beijing).His father moved to New South Wales in the Lingnan region and gave birth to Huineng. When Huineng was young, her father died and her family was poor, so she sold firewood to support her mother.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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4 林语堂早年留学美国、德国，获哈佛大学文学硕士，莱比锡大学语言学博士。回国后在清华大学、北京大学、厦门大学任教。1945年赴新加坡筹建南洋大学，任校长。曾任联合国教科文组织美术与文学主任、国际笔会副会长等职。&lt;br /&gt;
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Lin Yutang studied in the United States and Germany in his early years. He received his MA from Harvard University and his PhD in Linguistics from the University of Leipzig.After returning to China, he taught in Tsinghua University, Peking University and Xiamen University. In 1945, he went to Singapore to establish Nanyang University and became its president.He has served as director of Fine Arts and Literature of UNESCO and vice President of the International Pen Association.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 15:17, 27 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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1.《道德经》内容涵盖哲学、伦理学、政治学、军事学等诸多学科，被后人尊奉为治国、齐家、修身、为学的宝典。它对中国的哲学、科学、政治、宗教等产生了深远的影响，体现了古代中国人的一种世界观和人生观。&lt;br /&gt;
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Tao Te Ching covers philosophy, ethics, political science, military science and many other disciplines, and is respected as a treasure of governing the country, regulating the family, cultivating self-cultivation and learning. It has a profound influence on Chinese philosophy, science, politics and religion, and embodies a world outlook and outlook on life of ancient Chinese.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。&lt;br /&gt;
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The content of the Analects of Confucius involves politics, education, literature, philosophy and the truth of life. As early as the Late Spring and Autumn Period when Confucius set up a lecture platform, its main content had been initially created--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。《坛经》的思想对禅宗发展起到了重要作用。&lt;br /&gt;
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The text mainly records Huineng's life story and teachings. According to the theory of &amp;quot;self nature is pure&amp;quot;, it advocates the basic ideas of &amp;quot;find one’s ture self&amp;quot; and &amp;quot;insight into Buddhism&amp;quot;. The thought of ''Tanjing'' played an important role in the development of Zen.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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4.本书是一种私人的供状，供认我自己的思想和生活所得的经验。我不想发表客观意见，也不想创立不朽真理。我实在瞧不起自许的客观哲学。&lt;br /&gt;
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This book is a personal confession of my own thoughts and experiences. I don't want to be objective and create immortal truth because I really despise the objective philosophy of self promise.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:40, 27 December 2020 (UTC)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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1.“道”作为《道德经》中最抽象的概念范畴，是天地万物生成的动力源。&lt;br /&gt;
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The way, as the most abstract concept in Tao Te Ching, is the power source for the creation of all things.&lt;br /&gt;
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As the most abstract conceptual category in Tao Te Ching, &amp;quot;Tao&amp;quot; is the source of power for the creation of heaven and earth.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:21, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.《论语》主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。&lt;br /&gt;
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The Analects of Confucius mainly records the words and deeds of Confucius and his disciples in the form of quotations and dialogues, which embodies Confucius' political, aesthetic, moral and utilitarian values.&lt;br /&gt;
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3.若欲修行，在家亦得，不由在寺。&lt;br /&gt;
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If people are sincerely keen on the practice,it is no need for them to practise in the temple and they can be successful even at home.&lt;br /&gt;
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If you want to practice, you can get it at home, so you can't help but stay at the temple.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:37, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂的翻译特点是通畅易懂，少用“行语”，中等文化的读者都能看懂。&lt;br /&gt;
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The translation works of Lin Yutang are characterized by fluency and transparency since he hardly adopt jargons,so that his works can be understood by less-educated readers.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:11, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Ngo, Thi Minh Huong==&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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==Phyo, Su Kyi==&lt;br /&gt;
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1-道德经，也被称为老子或老子，是中国传统文字，传统上被认为是公元前6世纪的圣人老子。文章的作者，撰写日期和编辑日期受到争议。&lt;br /&gt;
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The Tao Te Ching, also known as Lao Tzu or Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.&lt;br /&gt;
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The ''Tao Te Ching'', also known as Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)&lt;br /&gt;
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2-《论语》约写于公元前500年，传统上归功于孔子。这段文字是由他的学生们在他去世后三十到五十年的时间内写的。&lt;br /&gt;
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The Analects, were written about 500 BC and are traditionally attributed to Confucius. The text was written by his students over a time period spanning the thirty to fifty years following his death.&lt;br /&gt;
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''The Analects'', was written about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a time period spanning the thirty to fifty years following his death.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)&lt;br /&gt;
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''The Analects'', was written in about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a period of time spanning the thirty to fifty years following his death.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:35, 27 December 2020 (UTC)&lt;br /&gt;
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3-大建会能，又称禅宗第六祖或禅宗第六祖，是中国禅宗早期历史中的半传奇人物，但却是中心人物。根据传统，他是一个没有受过教育的外行，在听到《金刚经》后突然醒悟。&lt;br /&gt;
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Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Chan, is a semi-legendary but central figure in the early history of Chinese Chan Buddhism. According to tradition he was an uneducated layman who suddenly attained awakening upon hearing the Diamond Sutra.&lt;br /&gt;
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Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Zen, is a semi-legendary but central figure in the early history of Chinese Zen Buddhism. According to the tradition, he was an uneducated layman who suddenly awakened upon hearing the contents of ''Diamond Sutra''.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)&lt;br /&gt;
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4-林语堂是中国发明家，语言学家，小说家，哲学家和翻译家。他的中英文不拘一格但又优美的风格使他成为这一代人中最有影响力的作家之一，他将经典的中国文字汇编和翻译成英文在西方是畅销书。&lt;br /&gt;
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Lin Yutang was a Chinese inventor, linguist, novelist, philosopher, and translator. His informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the West.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 07:07, 27 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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==Pingki, Tanchangya==&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
1、据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。&lt;br /&gt;
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According to UNESCO, ''the Tao Te Ching'' is the most widely translated cultural masterpiece in foreign languages after the ''Bible''.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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2、孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。&lt;br /&gt;
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Confucius was one of the most famous scholars in the society at that time. He was honored as &amp;quot;the sage of Heaven&amp;quot; and &amp;quot;the Wooden priest of Heaven&amp;quot; when he was alive. He was also honored as the sage of Confucius, the most holy, the most holy Teacher of Confucius, the most holy Master of Dacheng, the king of Wenxuan and the master of all ages by later rulers.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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3、经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。&lt;br /&gt;
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The sutra mainly records Huineng's life story and his teachings. According to the theory of &amp;quot;self-nature is pure and pure&amp;quot;, it advocates the basic idea of &amp;quot;seeing nature with clear heart&amp;quot; and &amp;quot;becoming Buddha with enlightenment&amp;quot;.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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4、林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来兮辞》，讲解了《圣经》故事，以及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月等等。&lt;br /&gt;
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Lin yutang talked about in the book zhuangzi's indifferent, praised tao yuanming's leisurely, read the &amp;quot;I'm going home!&amp;quot;, explained the bible stories, and how the Chinese tea, how do drinkers' wager game, how to view mountain, how to play water, how to look at the cloud, how to guide, how to grow flowers, birds, snow, rain, song of the wind, to month, and so on.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
1.法律制度是治国者统治人民的工具，是统治者为了保障自身的利益与维持社会秩序建构的国家机器，所以老子极力反对这些措施与法令制度。&lt;br /&gt;
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The legal system is the ruler's tool for ruling the people, and is the state machine constructed by the ruler to protect his own interests and maintain social order. Therefore, Laozi strongly opposed these measures and decrees.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》是中国读书人的基础语言，并影响着全社会的思维结构。 中国文化是儒、道、佛三教的合流，但是，这三教在中国文化中的地位决不是三足鼎立的，儒家文化绝对是中国文化的主流，从汉代开始，它就是无可争议的主流意识形态。&lt;br /&gt;
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The Analects is the basic language of Chinese scholars and influences the thinking structure of the whole society. Chinese culture is an amalgamation of Confucianism, Taoism and Buddhism. However, these three religions are by no means a triumvirate in Chinese culture; Confucianism is definitely the mainstream of Chinese culture, and it has been the undisputed dominant ideology since the Han Dynasty.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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3.在我国佛教的发展历史上，惠能可以说是影响最大的高僧。南北朝初期达摩祖师入中土，开创禅宗。&lt;br /&gt;
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In the history of Buddhism in China, the Huineng can be said to be the most influential monk. At the beginning of the Southern and Northern Dynasties, Dharma entered China and started Zen Buddhism.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》一书，是汇集了许多中西思想家的思想, 再经过林语堂深思熟虑，书写自己的观念与真理的书。&lt;br /&gt;
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''The Art of Living'' is a book that brings together the thoughts of many Chinese and Western thinkers, and then, after Lin Yutang's careful consideration, he writes his own concepts and truths.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:34, 27 December 2020 (UTC)&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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1.虽然丝绸之路是沿线各国共同促进经贸发展的产物，但很多人认为，中国的张骞两次通西域，开辟了中外交流的新纪元。从此，这条路线被作为“国道”踩了出来，各国使者、商人、传教士等沿着张骞开通的道路，来往络绎不绝。&lt;br /&gt;
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The Silk Road is the product of joint economic and trade development of countries along the route, but many people think that Zhang Qian’s traveling to the West for two times launched a new era for China and foreign exchanges. Since then, this route was deemed as “international route” as envoys, merchants and missionaries came and went along the route opened by Zhang Qian.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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2.通过海上丝绸之路，中国还传播着民族工艺和儒道思想，对&amp;quot;海上丝路&amp;quot;沿线国家和地区以及欧洲各地产生不同程度的影响，甚至掀起了&amp;quot;中国热&amp;quot;。其中，瓷器和茶叶对世界有着很大的影响。&lt;br /&gt;
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China spread its national craft, Confucianism and Taoism through the Maritime Silk Road, impacting countries along the route and European regions of varying degrees and even created “China fever”. Among them, porcelains and Tea have great influence upon the world.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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3.甲午战争以后，中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。&lt;br /&gt;
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Because of the First Sino-Japanese War, the Chinese people faced the fate of losing their country and families. Thus many scholars started to learn from western countries more positively and comprehensively, and a number of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a great amount of knowledge of natural science and social science and asked political reforms.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。京师同文馆、上海广方言馆以及江南制造局的译书馆，是当时翻译西方的中心。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。&lt;br /&gt;
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During the 35 years of The Westernization Movement, the development of culture and publishing reached an unprecedented level. The Tongwenguan in Beijing, the Guangfangyanguan in Shanghai and the Yishuguan of the Jiangnan Manufacturing Bureau were the center of translating western works. The translation of books has gone through a process from purely Western scientific and technical works and books to works on natural sciences and social sciences and humanities, with the latter even slightly prevailing.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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1.汉武帝刘彻即位时，张骞已在朝廷担任名为“郎”的侍从官。据史书记载，他“为人强力，宽大信人”。即具有坚韧不拔、心胸开阔，并能以信义待人的优良品质。建元三年，即公元前138年，张骞“以郎应募，使月氏”。“郎”，是皇帝的侍从官，没有固定职务，又随时可能被选授重任。&lt;br /&gt;
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When Emperor Wu of Han Dynasty Liu Che assumed the throne, Zhang Qian was already working at the court as a retainer named &amp;quot;Lang&amp;quot;. According to historical records, he was &amp;quot;a strong, generous and trustworthy&amp;quot;. In other words, he was tough, open-minded, and could treat people with faith and justice. In the third year of Jian Yuan, that is, 138 B.C., Zhang Qian was recruited to make a mission to the Moon Dynasty. The &amp;quot;Lang&amp;quot;, the emperor's retainer, has no fixed position, and may be chosen at any time to reappoint.&lt;br /&gt;
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2.有观点认为，明初时海外威胁受到重视，故有郑和下西洋之事。然而，或许郑和过于成功了，“他的海军满载荣誉胜利归来，并确认帝国没有来自海上的威胁”，因此“郑和与他的随从也可以说失去了继续远航的意义。”&lt;br /&gt;
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It has been argued that the overseas threat was taken seriously at the beginning of the Ming Dynasty, hence Zheng He's voyage to the West. However, perhaps Zheng He was too successful, &amp;quot;his navy returned triumphantly laden with glory and confirmed that there was no threat to the empire from the sea&amp;quot;, so &amp;quot;Zheng He and his entourage could be said to have lost the point of continuing their voyage&amp;quot;.&lt;br /&gt;
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3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。许多人以转译日本人所著的西学书籍来接受西学。进入民国时期，由于对政治的不满又进一步导致知识分子们提出全盘西化的主张，在五四时期这种思想造成了很大的影响。这一波的西学东渐，一直持续到当代而未止。&lt;br /&gt;
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After the First Sino-Japanese War, as China was facing the fate of national ruin, many learned people began to learn more actively and comprehensively from the West, and a group of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a lot of natural and social science knowledge from the West, and also demanded reforms in politics. A great deal of Western knowledge was introduced into China during this period, and its influence was very widespread. Many people embraced Western learning by translating Western books written by the Japanese. In the Republican period, dissatisfaction with politics further led intellectuals to advocate wholesale Westernization, which had a great impact in the May Fourth period. This wave of Western learning continued into contemporary times.&lt;br /&gt;
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4.洋务派前期创办的军事工业，经费由清政府调拨，产品分配给军队使用，管理方式是封建衙门式的。虽然这些企业采用机器生产，但本质上属于带有资本主义因素的封建官办企业。&lt;br /&gt;
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The military industries founded by the foreign affairs faction in the early period were financed by the Qing government, and the products were allocated to the army for use, and managed in a feudal government office style. Although these enterprises adopted machine production, they were essentially feudal government-run enterprises with capitalist elements.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:23, 25 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
1. 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。&lt;br /&gt;
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The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion. According to UNESCO, the Tao Te Ching is the most translated and published cultural masterpiece into foreign languages, except for the Bible.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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2. 《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。&lt;br /&gt;
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The Analects covers politics, education, literature, philosophy, and the principles of living in the world. As early as the late Spring and Autumn period, when Confucius set up a forum to teach, the main content of the Analects was already in its infancy.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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3.《六祖坛经》记载惠能一生得法传法的事迹及启导门徒的言教,内容丰富,文字通俗,是研究禅宗思想渊源的重要依据。&lt;br /&gt;
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The Sutra of Hui-neng is a richly written account of Hui-neng's life and teachings of his disciples, also working as an important basis for studying the origins of Zen’s thought.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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4. 读书使人得到一种优雅和风味，这就是读书的整个目的。读书并不是要“改进心智”，若是如此，一切读书的乐趣便丧失净尽了。&lt;br /&gt;
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4. Reading gives one a grace and flavor, and that is the whole purpose of reading. Reading is not to &amp;quot;improve the mind&amp;quot;; if it were, all the pleasure of reading would be lost.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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Reading gives people an elegance and flavor, which is the whole purpose of reading.Reading is not meant to &amp;quot; improve the mind &amp;quot;; if so, all the pleasure of reading is lost.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:37, 27 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
1.老子说：“上善若水”-—水具有最高的善。老子以水来作比喻，突出他的“不争”哲学思想，与恶意争斗的丛林法则相区别。&lt;br /&gt;
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1.The highest good is like water, according to Laozi. By making a comparison with water, the ancient philosopher stressed the idea of “not to strive” which stands in stark contrast with the law of the jungle marked by malicious rivalry. &lt;br /&gt;
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2.孔子修史书，编纂《春秋》，整理古代文献，在文化的继承和发扬上有着卓越的贡献。孔子去世后，弟子们将他的言论编成了《论语》一书。孔子修史书，编纂《春秋》，整理古代文献，在文化的继承和发扬上有着卓越的贡献。孔子去世后，弟子们将他的言论编成了《论语》一书。&lt;br /&gt;
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2.Confucius revised history books, wrote the Spring and Autumn Annals, and organized ancient texts, which contributed to the development of the Chinese culture. After his death, his students collected his sayings into a book:''the Analects of Confucius''.&lt;br /&gt;
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3. 道可道,非常道;名可名,非常名.&lt;br /&gt;
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3.The way that can be told of is not an unvarying names;The names that can be named are not unvarying names.&lt;br /&gt;
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4.林语堂(1894—1976)，原名玉堂，福建省龙溪县人。现代散文家、小说家，曾留学美国、德国，获哲学博士学位。1922年回国后，在北京大学、北京女子师范大学任教。曾是鲁迅主持的《语丝》撰稿人。&lt;br /&gt;
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4.Lin Yutang (1894 -- 1976), formerly known as Yutang, was born in Longxi County, Fujian Province.He is a modern essayist, novelist, and has studied abroad in the United States, Germany, and a doctor in philosophy.After returning to China in 1922, he taught in Peking University and Beijing Women's Normal University.He used to be a writer of Threads hosted by Lu Xun.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:39, 27 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
1.老子认为世界上的任何事物都是相比较而存在的。美丑、善恶、有无、难易、长短都是相互依存的，有此才有彼，有是才有非，有善才有恶。表面看来，正相反对的两个方面是相互对立的，而实际上又是相互包含、相互渗透的。&lt;br /&gt;
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1.Laozi believes that everything in the world exists by comparison. Beauty and ugliness, good and evil, existence and existence, difficulty and difficulty, length and length are interdependent. There is one and there is another, there is yes and there is no, there is good and there is evil. On the surface, the two opposite aspects are opposite, but in fact they are mutually contained and permeated.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.《论语》既是语录体又是若干断片的篇章集合体。这些篇章的排列不一定有什么道理；就是前后两章间，也不一定有什么关联。而且这些断片的篇章绝不是一个人的手笔。&lt;br /&gt;
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2.The Analects of Confucius is a collection of quotations and fragments. The arrangement of these chapters does not necessarily make sense; Even between the two chapters, there is not necessarily a connection. And these fragmentary passages are not the work of one man.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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3.毛泽东还谈到过惠能的思想在佛教史上的地位。他说，惠能主张佛性人人皆有，创顿悟成佛之学，一方面使繁琐的佛教简易化，一方面也使从印度传入的佛教中国化。因此，他被视为禅宗的真正创始人。&lt;br /&gt;
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3.Mao Zedong also talked about the position of Huineng's thought in the history of Buddhism. He said that Huineng advocates that everyone has the Buddha nature and creates the theory of enlightenment to become a Buddha, which, on the one hand, simplifies the tedious Buddhism and, on the other hand, makes the Buddhism introduced from India Chinese. Therefore, he is regarded as the real founder of Zen.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4.林语堂早年已立志发明“中文打字机”。当时科学严谨的汉字检索系统仍未建立起来；又由于汉字本身是符号文字而非字母文字，长期以来人们对制成中文打字机的可能性多持怀疑态度。&lt;br /&gt;
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4.In his early years, Lin yutang aspired to invent the &amp;quot;Chinese typewriter&amp;quot;. At that time, the scientific and rigorous Chinese character retrieval system had not yet been established. Because Chinese characters are symbolic characters rather than alphabetic characters, people have long been skeptical of the possibility of making Chinese typewriters.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:14, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。&lt;br /&gt;
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The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion . According to UNESCO, the Tao Te Ching is the most popular translated and published cultural masterpiece in foreign languages, except for the Bible.&lt;br /&gt;
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2.《论语》中的第一句话就是“学而时习之，不亦说乎？”可见，孔子狠强调学用结合、学以致用、言行相符。&lt;br /&gt;
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The opening sentence of The Analects of Confucius says, “It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired.” From here we see that Confucius emphasized the integration of learning with application and the consistence of words and actions.&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
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The sutra mainly records Huineng's life story and his teachings. The ideas of the Tanjing played an important role in the development of Zen Buddhism. This is the only Chinese Buddhist work that has been honored as a &amp;quot;sutra&amp;quot;.&lt;br /&gt;
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4.1939年，林语堂在美国纽约的世界笔会上发表了一篇《希特勒与魏忠贤》的演讲。他说，当今德国人有人把希特勒比为耶稣，由此他想起中国明朝有一位读书人倡议一说，称颂魏忠贤与孔夫子应当有同样的地位。&lt;br /&gt;
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In 1939, Lin Yutang made  a speech entitled “Hitler and Wei Zhongxian” at a PEN meeting held in New York City. reminded him of a Chinese scholar of the Ming Dynasty, who advocated that Wei Zhongxian, the then dictatorial chief palace eunuch, be ranked as equal of Confucius--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:29, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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1.《道德经》主要论述“道”与“德”：“道”不仅是宇宙之道、自然之道，也是个体修行即修道的方法；“德”不是通常以为的道德或德行，而是修道者所应必备的特殊的世界观、方法论以及为人处世之方法。&lt;br /&gt;
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Tao Te Ching mainly discusses &amp;quot;Dao&amp;quot; and &amp;quot;De&amp;quot; : &amp;quot;Dao&amp;quot; is not only the way of universe and nature, but also the method of individual cultivation; &amp;quot;De&amp;quot; is not the morality or virtue as commonly thought, but the special world view, methodology and way of dealing with people that a monastic should have.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。&lt;br /&gt;
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The Analects, one of the Confucian classics，is a collection of quotations and essays, which records the words and deeds of Confucius and his students. It embodies Confucius' thoughts in politics, aesthetics, moral ethics and utilitarianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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3.《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
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The Sutra of Huineng, the only one Buddist work that has been honored as &amp;quot;sutra&amp;quot;, contributes a lot to the development of Zen.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The Sutra of Hui-neng, the only Chinese Buddist work that has been honored as &amp;quot;sutra&amp;quot;, played an important role in the development of Zen Buddhism.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:32, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来辞》，还讲解了《圣经》故事，谈及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月，等等。&lt;br /&gt;
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In his book, Lin talked about the unworldliness of Chuang Tzu, praised the leusure of Tao Yuanming，and read one of Tao's prose named On Returning Home. He also explained the stories of the Bible, talked about how the Chinese people taste tea,play drinking games, watch mountains and waters, observe clouds and rocks, raise flowers and birds, enjoy the snow, listen to rain, and enjoy the air and the moon.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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In the book, Lin Yutang talks about Zhuangzi's indifference, praises Tao Yuanming's leisure, reads the song of returning home, and explains the story of the Bible. He talks about how Chinese people drink tea, how to drink, how to watch mountains, how to play with water, how to see clouds, how to learn from stones, how to raise flowers, keep birds, watch snow, listen to rain, recite wind, and play with the moon, and so on.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:34, 27 December 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
1.丝绸之路全程，从西安经安西、喀什噶尔、撒马尔罕和塞流西亚，直至推罗，直线距离是4200英里，如果加上沿途绕弯的地方，总共约有6000英里，相当于赤道的四分之一。&lt;br /&gt;
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The Silk Road runs from Xi'an through Anxi, Kashgar, Samarkand and Seleucia to Tyre at a straight distance of 4200 miles, or about 6000 miles, or a quarter of the equator, if combined with the curving.&lt;br /&gt;
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2.海上丝绸之路是指古代中国与世界其他地区进行经济文化交流交往的海上通道。2000 多年前，一条以中国徐闻港、合浦港等港口为起点的海上丝绸之路成就了世界性的贸易网络。&lt;br /&gt;
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Maritime Silk Road refers to ancient China and the rest of the world for economic and cultural exchanges of the sea channel.More than 2000 years ago, a maritime Silk Road, which started with ports such as China's Xuwen Port and Hepu Port, became a worldwide trading network.&lt;br /&gt;
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3.随着西学大举东来，国内知识分子的大力鼓吹，使得妇女问题开始受到社会的重视。&lt;br /&gt;
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With the western learning coming to the east in a large scale, the domestic intellectuals advocated vigorously, so that women's issues began to receive social attention.&lt;br /&gt;
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4.自全球化进程不断加快以来，中国教育已无可避免地成为世界教育的一部分。西学的存在,对我国教育界的认识论和理论体系，带来了什么挑战和启示呢?&lt;br /&gt;
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Since the accelerating process of globalization, China's education has inevitably become a part of the world's education.What challenges and enlightenment does the existence of western learning bring to the epistemology and theoretical system of education in China? &lt;br /&gt;
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:27, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
1.以“道”解释宇宙万物的演变，即“道生一，一生二，二生三，三生万物”，“道”乃“夫莫之命而常自然”，因而“人法地，地法天，天法道，道法自然”。&lt;br /&gt;
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He used &amp;quot;Tao&amp;quot; to explain the evolution of all things in the universe, that is, &amp;quot;Tao generates one, two, two generates three, three generates all things&amp;quot;, &amp;quot;Tao&amp;quot; is &amp;quot;Fu Mo's life is always natural&amp;quot;, so &amp;quot;man follows earth, earth follows heaven, heaven follows Tao, Tao follows nature&amp;quot;.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成;孔子去世以后，他的弟子和再传弟子代代传授他的言论，并逐渐将这些口头记诵的语录言行记录下来。&lt;br /&gt;
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The content of the Analects of Confucius involves politics, education, literature, philosophy and the truth of life. As early as the late spring and Autumn period when Confucius set up an altar to give lectures, its main content had been initially created; after Confucius died, his disciples and his disciples taught him his words from generation to generation, and gradually recorded these oral quotations, words and deeds.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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3.慧能的禅法以定慧为本，认为觉性本有，烦恼本无。直接契证觉性，便是顿悟。他说自心既不攀缘善恶，也不可沉空守寂，即须广学多闻，识自本心，达诸佛理。&lt;br /&gt;
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Huineng's Zen is based on Dinghui. He thinks that consciousness is there and worry is not. The direct evidence of consciousness is epiphany. He said that the self mind should neither climb up to good and evil, nor sink into silence. That is to say, it is necessary to learn a lot, to know the self mind, and to reach all Buddhist principles.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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4.只有快乐的哲学，才是真正深湛的哲学；西方那些严肃的哲学理论，我想还不曾开始了解人生的真义哩。 在我看来，哲学的唯一效用是叫我们对人生抱一种比一般人较轻松较快乐的态度。——林语堂《生活的艺术》&lt;br /&gt;
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Only the philosophy of happiness is really profound philosophy; I don't think those serious western philosophical theories have begun to understand the true meaning of life. In my opinion, the only effect of philosophy is to make us have a more relaxed and happy attitude towards life than ordinary people. ——The Importance of Living by Lin Yutang--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
1.天下皆知美之为美，斯恶已；皆知善之为善，斯不善已。&lt;br /&gt;
It is because every one under Heaven recognizes beauty as beauty that the idea of ugliness exists. And equally if every one recognized virtue as virtue this would merely create fresh conceptions of wickedness.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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2.有朋自远方来，不亦说乎？&lt;br /&gt;
Is it not delightful to have friends coming from distant quaters?--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。&lt;br /&gt;
The Sutra of Huineng mainly recorded life stories and teachings of Huineng. The thoughts in it played an important part in the development of Zen Buddhism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适。&lt;br /&gt;
Ling Yutang talked about Zhuangzi’s indifference to fame and wealth, and spoke highly of Tao Yuanming’s leisure.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:46, 27 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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1.张骞出使西域,接触到西域各国的风土人情，是汉朝开始对西域各国有所了解，使汉朝与西域建立了友好关系，为后来西汉政府设置西域都护府，使西域正式归西汉政府管辖打下了基础。&lt;br /&gt;
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Zhang Qian’s mission to the Western Regions brought in contact with the customs of the Western Regions. It was the Han dynasty that began to understand the Western Regions countries, which enabled the Han dynasty to establish friendly relations with the Western Regions. Later, the Western Han government set up the Western Regions Protectorate and made the Western Regions officially returned to the Western Han government. Jurisdiction laid the foundation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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Zhang Qian's mission to the Western Regions brought him into contact with the customs and traditions of the countries in the Western Regions, and enabled the Han Dynasty to establish friendly relations with the Western Regions, which later laid the foundation for the Western Han government to set up the Western Regions Capital Protection Office, making the Western Regions officially under the jurisdiction of the Western Han government.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。&lt;br /&gt;
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Since the opening of the Maritime Silk Road during the Qin and Han Dynasties, it has always been an important bridge for the economic and cultural exchanges between the East and the West. Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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Since the opening of the Maritime Silk Road during the Qin and Han dynasties, it has been an important bridge to bridge the economic and cultural exchanges between the East and the West, and the Southeast Asian region has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。&lt;br /&gt;
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Western learning has brought various new academic achievements in modern Western modern times into China, deeply affecting the development of various academics, and many disciplines that are not valued or even existed in traditional China have also been developed under this influence.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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The gradual expansion of Western learning brought various new achievements in modern Western scholarship into China, which deeply influenced the development of various academic disciplines, and many disciplines that were not valued or even did not exist in traditional China also developed under this influence.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
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Although the Westernization Movement objectively stimulated the development of Chinese capitalism, and to a certain extent resisted the economic import of foreign capitalism, it did not make China embark on a path of prosperity.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)&lt;br /&gt;
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Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
1.汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。&lt;br /&gt;
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Although Zhang Qian's mission to the Western Region was originally for military purposes, after the opening of the Western Region, its influence far exceeded the military scope.&lt;br /&gt;
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2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和&amp;quot;海上香料之路&amp;quot;。&lt;br /&gt;
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The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the &amp;quot;Maritime Ceramic Road&amp;quot; and the &amp;quot;Maritime Spice Road&amp;quot;.&lt;br /&gt;
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3.徐光启毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。&lt;br /&gt;
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Xu Guangqi devoted his life to the research of science and technology and wrote diligently. He was an active promoter of introducing and absorbing European science and technology, and made important contributions to the cultural exchanges between China and the West in the 17th century.&lt;br /&gt;
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4.曾国藩治军把选将作为第一要务，他说，“行军之道，择将为先。”他的选将标准是德才兼备，智勇双全，而把德放在首位。&lt;br /&gt;
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Zeng Guofan regards the election of generals as the first priority. He said, &amp;quot;The wisedom to march is to choose warriors first.&amp;quot; His selection criteria is to have both ability and political integrity, wisdom and courage, and morality is the first priority.&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
1.除了朴素的唯物主义观点，《道德经》一书中还包括大量朴素辩证法观点，如一切事物均具有正反两面。&lt;br /&gt;
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In addition to the simple materialistic view, ''Tao Te Ching'' also includes a large number of simple dialectical views, such as all things have positive and negative sides.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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Apart from the simple materialistic views, ''Tao Te Ching'' also includes a large number of simple dialectical views, for example, every coin has two sides.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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''The Analects'' embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a more concentrated manner.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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''The Analects'' embodies the political views, ethical thoughts, moral ideas and educational principles of Confucius and the Confucianism in a relatively concentrated manner.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。&lt;br /&gt;
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The Sutra mainly records the life story and teachings of Hui-neng. ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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The Sutra mainly recorded the life story and teachings of Hui-neng. The thought in ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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4.林语堂先生在《生活的艺术》中将中国人旷怀达观、陶情遣兴的生活方式和浪漫高雅的东方情调充分传达出来。&lt;br /&gt;
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In ''The Importance of Living'', Lin Yutang fully conveys the Chinese way of life of being open-minded and broad-minded, and the romantic and elegant oriental sentiment.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)&lt;br /&gt;
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In ''The Importance of Living'', Lin Yutang fully conveys the Chinese lifestyle of open-mindedness and broad-mindedness, and the  oriental sentiment of romance and elegance.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响.&lt;br /&gt;
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&amp;quot;Tao De Jing&amp;quot; is one of the greatest masterpieces in Chinese history, which has had a profound impact on traditional philosophy, science, politics, religion, etc.&lt;br /&gt;
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&amp;quot;Tao De Jing&amp;quot; is one of the greatest masterpieces in Chinese history, which has had a profound impact on traditional philosophy, science, politics and  religion, etc.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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2.《论语》，是孔子弟子及再传弟子记录孔子及其弟子言行而编成的语录文集，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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&amp;quot;The Analects of Confucius&amp;quot; is a collection of quotations compiled by Confucius and his disciples to record the words and deeds of Confucius and his disciples, which more concentratedly embodies the political views, ethics, moral concepts and educational principles of Confucius and Confucianism.&lt;br /&gt;
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''The Analects of Confucius''is a collection of quotations compiled byConfucius' disciples and their retransmitters to record the words and deeds of Confucius and his disciples, which more concentratedly embodies the political views, ethics, moral concepts and educational principles of Confucius and Confucianism.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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3.《坛经》是禅宗的主要经典之一,主要记载慧能的生平事迹和言教.&lt;br /&gt;
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The Tantra is one of the main Zen classics, mainly recording the life deeds and teachings of Huineng.&lt;br /&gt;
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The ''Tantra'' is one of the main classics of Zen , mainly recording the life deeds and teachings of Huineng.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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4.林语堂的翻译特点是通畅易懂，中等文化的读者都能看懂，这也是他探索的结果。&lt;br /&gt;
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Lin Yutang's translation features are easy to understand and can be understood by readers of intermediate culture. This is also the result of his exploration.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:31, 27 December 2020 (UTC)&lt;br /&gt;
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Lin Yutang's translation is characterized by its fluency and comprehensiveness, which is also the result of his exploration.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:45, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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1.先秦时期，连接中国东西方交流的通道已经存在，丝绸正式西传始于西汉通西域，丝绸之路真正形成始于西汉张骞凿空。&lt;br /&gt;
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The pre-Qin period, connecting China's East and West exchange channel has existed, the official western transmission of silk began in the Western Han Dynasty through the Western Regions, the Silk Road really formed from the Western Han Dynasty Zhang Qian chiseling.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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In the pre-Qin period, a channel connecting China's east and west already existed. The official spread of silk to the west began in the Western Han Dynasty, and the real formation of the Silk Road began when Zhang Qian's hollowed out in the Western Han Dynasty.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。&lt;br /&gt;
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The Maritime Silk Road, also known as the &amp;quot;Maritime Route of Ceramics&amp;quot; and the &amp;quot;Maritime Route of Spices&amp;quot;, was first mentioned by the French orientalist Chavannes in 1913, and is a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the &amp;quot;Sea Ceramic Road&amp;quot; and &amp;quot;Sea Spice Road&amp;quot;. It was first mentioned in 1913 by the French orientalist Shawan.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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3.明代万历年间，以利玛窦为代表的西书七千部传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。&lt;br /&gt;
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During the Wanli period of the Ming Dynasty, the seven thousand missionaries of the Western Book, represented by Matteo Ricci, came to China to preach, and at the same time brought Western technology and culture. This has touched the traditional Chinese thought and culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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During the Wanli period of the Ming Dynasty, 7,000 missionaries represented by Matteo Ricci came to China to preach, and at the same time brought Western technology and culture. This has touched traditional Chinese thought and culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动，又称自强运动，是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
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The Foreign Affairs Movement, also known as the Self-Strengthening Movement, was a self-help movement conducted by the Foreign Affairs faction of the late Qing Dynasty from the 1860s to the 1990s to introduce Western military equipment, machinery production and science and technology to save the Qing Dynasty.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)&lt;br /&gt;
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The Westernization Movement, also known as the Self-Strengthening Movement, was a self-rescue movement carried out by the Westernization Movement from the 1860s to the late Qing Dynasty that introduced Western military equipment, machine production, and science and technology to save the Qing rule.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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1.老子生于春秋战国时期，当时的环境是周朝势微，各诸侯为了争夺霸主地位，战争不断。严酷的动乱与变迁，让老子目睹到民间疾苦，作为周朝的守藏史，于是他提出了治国安民的一系列主张。&lt;br /&gt;
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Laozi was born in the Spring and Autumn Period and the Warring States Period. At that time, the Zhou Dynasty was in a weak state. As the official historian of Zhou Dynasty, Lao Zi put forward a series of propositions of governing the country and keeping the people safe.&lt;br /&gt;
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2.作为儒家经典的《论语》，其内容博大精深，包罗万象，《论语》的思想主要有三个既各自独立又紧密相依的范畴：伦理道德范畴——仁，社会政治范畴——礼，认识方法论范畴——中庸。&lt;br /&gt;
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As a Confucian classic, the Analects of Confucius has a broad and profound content and is all-embracing. The thoughts of the Analects of Confucius mainly consist of three independent and closely related categories: ethical and moral category -- benevolence, social and political category -- rites, and cognitive methodology category -- the doctrine of the mean.&lt;br /&gt;
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3.慧能偈曰：&lt;br /&gt;
菩提本无树，明镜亦非台。&lt;br /&gt;
本来无一物，何处惹尘埃？&lt;br /&gt;
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My stanza read:  &lt;br /&gt;
There is no Bodhi-tree, &lt;br /&gt;
Nor there’s a mirror bright. &lt;br /&gt;
Since all is void in fact,&lt;br /&gt;
Say, where can dust alight?&lt;br /&gt;
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4.幽默大师林语堂以人生优游者的独特视角，诠释中国人“生活的艺术”，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。&lt;br /&gt;
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Lin Yutang, a humorist, interprets the &amp;quot;art of life&amp;quot; of The Chinese people from the unique perspective of a good traveler in life, showing a unique style of poetic life, talented life, humorous life and intelligent life.&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:29, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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1.《道德经》是中国古代先秦诸子分家前的一部著作，是道家哲学思想的重要来源。&lt;br /&gt;
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1.The Tao Te Ching is a work before the division of pre-Qin scholars in ancient China, and is an important source of Taoist philosophy.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)&lt;br /&gt;
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2.《论语》以语录体为主，叙事体为辅，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。&lt;br /&gt;
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2.The Analects is mainly based on the quotation style, supplemented by the narrative style, which more concentratedly reflects the political propositions, ethics, moral concepts and educational principles of Confucius and Confucianism.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)&lt;br /&gt;
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3.经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。&lt;br /&gt;
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3.The scriptures mainly record the life deeds and teachings of Huineng. According to the theory of &amp;quot;self-nature is pure&amp;quot;, it promotes the basic idea of &amp;quot;understanding the mind and seeing the nature&amp;quot; and &amp;quot;understanding to become a Buddha&amp;quot;. The idea of &amp;quot;Tan Sutra&amp;quot; played an important role in the development of Zen. This is the only one that is honored as the &amp;quot;Sutra&amp;quot; in Chinese Buddhist works.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC)&lt;br /&gt;
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4.林语堂将中国人旷怀达观，陶情遣兴的生活方式和浪漫高雅的东方情调皆诉诸笔下，向西方人娓娓道出了一个可供仿效的完美生活方式的范本、快意人生的典型，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。&lt;br /&gt;
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4Lin Yutang appealed to the Chinese people's open mindedness, Tao Qingqianxing's lifestyle and romantic and elegant oriental sentiment, and he presented a model of perfect lifestyle and a model of happy life that can be imitated to Westerners. Shows the unique style of poetic life, talented life, humorous life, and wise life.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:07, 28 December 2020 (UTC).&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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《道德经》与中医渊源颇深, 其中许多论点与中医理论有相通之处。&lt;br /&gt;
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Tao Te Ching is deeply connected with Traditional Chinese medicine, and many of its arguments have something in common with Chinese medicine theories.&lt;br /&gt;
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《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行。&lt;br /&gt;
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The Analects is one of the classic works of Confucianism. It is a collection of opinion records of prose writings, mainly in the form of quotations and dialogues, recording the words and deeds of Confucius and his disciples.&lt;br /&gt;
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《坛经》是佛学中国化、大众化最为成功的典型之一。&lt;br /&gt;
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The Sutra of Hui-neng is one of the most successful representative of sinicization and popularization of Buddhism.&lt;br /&gt;
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其实,生活于我无意义,快乐地过好每一天最为重要。应该说,这种感受得益于林语堂的《生活的艺术》一书。&lt;br /&gt;
In fact, while life is meaningless, what matters to me is leading a happy life everyday. This comprehension should be credited to the The Importance of Living written by Lin Yutang. --[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:34, 28 December 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
1.《道德经》不仅在中国影响深远而广泛，而且漂洋过海，传遍了世界五大洲，深受外围人的青眯，引起浓厚的学习兴趣和研究热情。他们赞誉《道德经》为“东方智慧的结晶”。当代西方流行广泛的一句话，就是老子是国际性的，目前研究老子思想已成为一种国际性的文化现象。&lt;br /&gt;
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''The Tao Te Ching'' not only has a far-reaching influence in China, but also has spread all over the five continents of the world. They praised''the Tao te ching'' for the “crystallization of Eastern Wisdom. A popular saying in the west today is that Laozi is international, and the study of Oigo’s thought has become an international cultural phenomenon.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
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''Tao Te Ching'' not only has exerted a far-reaching influence in China, but also has spread all over the five continents of the world. They praised''Tao te ching'' for the “crystallization of Eastern Wisdom. A popular saying in the west today is that Laozi is international, and the study of Laozi’s thought has become an international cultural phenomenon.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 04:09, 28 December 2020 (UTC)&lt;br /&gt;
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2.作为儒家最经典和最受欢迎的著作，《论语》不仅是中国传统最核心的作品之一，而且是中国人伦理道德标准和行为准则的核心。《论语》中蕴含的儒家思想是中华民族的宝贵财富。自从16世纪末以来，《论语》被中西方学者源源不断地翻译，并且传播到世界各地。&lt;br /&gt;
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As the most classical and popular works of Confucianism, ''the Analects'' is not only one of the core works of Chinese tradition, but also the core of Chinese ethical standards and codes of conduct. The Confucian thought contained in ''the Analects'' is the precious wealth of the Chinese nation. Since the end of the 16th century, ''the Analects'' has been continuously translated by Chinese and Western scholars and spread all over the world.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
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3.《慧能经》不仅是研究惠能思想的重要资料,而且是具有中国特色的佛教禅宗一派的重要经典,在中国佛教思想史、哲学史上具有深远的影响。&lt;br /&gt;
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''The Sutra of Huineng'' is not only an important material to study Huineng’s thought, but also an important classic of Zen Buddhism with Chinese characteristics. It has a far-reaching influence on the history of Chinese Buddhist thought and philosophy.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
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4.《生活的艺术》是一本与你畅谈如何听风赏月的家常闲聊，又是一本关乎生活态度甚至生活智慧的严肃论文。林语堂从生活、家庭、文化、旅行、思想、宗教等方面探讨人必须学会享受生命。&lt;br /&gt;
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''The Importance of Living'' is a book about how to feel the wind, enjoy the moon. It is also a serious essay about life attitude and even life wisdom. Lin Yutang analyzed from the aspects of life, family, culture, travel, thought, religion and so on. Then he drew a conclusion that people must learn to enjoy life.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
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==Zubareva, Ekaterina==&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201221_cult&amp;diff=119495</id>
		<title>20201221 cult</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201221_cult&amp;diff=119495"/>
		<updated>2020-12-28T04:01:06Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
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&lt;div&gt;==Alsied, Saffana==&lt;br /&gt;
1. Their king was killed and his skull turned into a drinking vessel. As a result, the Rouzhi fled and bore a constant grudge against the Xiongnu. At this time, the Han became increasingly strong, and Emperor Wu was determined to defeat the Xiongnu.--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)&lt;br /&gt;
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他们的国王被杀，他的头骨变成了饮酒器。 结果，柔脂逃走了，对熊怒不断地怀恨在心。 这时，汉人变得越来越强大，吴皇帝决心打败匈奴。&lt;br /&gt;
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他们的国王被杀，他的头骨变成了饮酒器。 结果，大月氏逃走了，却仍然对匈奴怀恨在心。 这时，汉朝变得越来越强大，汉武帝决定攻打匈奴。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)&lt;br /&gt;
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2.They even carried on their ships many foreign heads of state and envoys to China. On the voyage of 1423 alone, they brought 1,200 envoys from 16 countries to China, some of whom even preferred not to go back. --[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)&lt;br /&gt;
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他们甚至还搭载了许多外国国家元首和特使前往中国。 仅在1423年的航行中，他们就将来自16个国家的1200名使节带到了中国，其中一些人甚至不愿回国。&lt;br /&gt;
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3.In the second half of the 16th century, foreign missionaries from the Society of Jesus came to China. They spread religious doctrines on the one hand and introduced on the other hand works on astronomy, mathematics, physics, geography, paintings, and music to China. Meanwhile, they brought to the West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchanges between China and the West. &lt;br /&gt;
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16世纪下半叶，耶稣会的外国传教士来到中国。 他们一方面传播宗教学说，另一方面向中国介绍天文学，数学，物理学，地理，绘画和音乐方面的著作。 同时，他们把西方的儒道思想带到了西方，为中西文化交流做出了贡献。&lt;br /&gt;
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16世纪下半叶，耶稣会的外国传教士来到中国。 他们一方面传播宗教学说，另一方面把天文学，数学，物理学，地理，绘画和音乐方面的著作引入中国。 同时，他们把中国的儒家和道家思想带到了西方，为中西文化交流做出了贡献。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)&lt;br /&gt;
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4.After the Second Opium War (1856-1860), Yi Xin (Prince Gong) and local officials realized that China had lagged far behind the West in weaponry and military technology, and advocated learning advanced production technology and troop training methods from the West so as to build a modern national defense. Known as the School of Westernization, these people launched a movement to learn from Western powers.&lt;br /&gt;
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第二次鸦片战争（1856-1860）之后，巩义王子和当地官员意识到中国在武器装备和军事技术方面远远落后于西方，并主张从西方学习先进的生产技术和部队训练方法，以便 建立现代国防。 这些人被称为洋务派，他们发起了向西方列强学习的运动。&lt;br /&gt;
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第二次鸦片战争（1856-1860）之后，奕䜣（恭亲王）和国内官员意识到中国在武器装备和军事技术方面远远落后于西方，因而他们主张从西方学习先进的生产技术和部队训练方法，旨在建立一支现代化的国防军队。 这些人被称为洋务派，他们发起了一场向西方列强学习的运动。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:40, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Cao Runxin 曹润鑫==&lt;br /&gt;
1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。&lt;br /&gt;
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The traditional Silk Road starts in Chang'an, the ancient capital of China, and reaches the Mediterranean Sea via the Central Asian countries, Afghanistan, Iran, Iraq and Syria, ending in Rome, a total length of 6,440 kilometres.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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The Maritime Silk Road was formed during the Qin and Han dynasties, developed during the Three Kingdoms to the Sui dynasty, flourished during the Tang and Song dynasties, and transformed during the Ming and Qing dynasties, making it the oldest known maritime route.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)&lt;br /&gt;
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3.此时的西学传入，主要以传教士和一些中国人对西方科学著作的翻译为主。&lt;br /&gt;
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The introduction of Western learning at this time was dominated by the translation of Western scientific works by missionaries and some Chinese.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)&lt;br /&gt;
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4.当时时期主要特点就是整体化和近代化。近代化就是资本主义代替封建专制，这是历史的必然。这也是洋务运动试图走近代化的道理，在世界整体化的趋势下，中国比较被动的卷入。&lt;br /&gt;
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The main characteristic of the period was holism and modernisation. Modernisation is the replacement of feudal autocracy by capitalism, which is a historical necessity. This was also the rationale behind the attempts of the Westernization Movement to modernise, with China being more passively involved in the trend towards the globalisation of the world as a whole.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:01, 28 December 2020 (UTC)&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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1.汉政府在西域设置常驻官员，派士卒屯田，设校尉统领保护，使汉族同新疆少数民族交往更加密切。汉朝在西域设立西域都护府为标志，丝绸之路进入繁荣时代。&lt;br /&gt;
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The government of the Han Dynasty set up permanent officials in the Western Regions, dispatched soldiers to garrison the fields, and assigned a captain to lead the protection, so that the Han people had closer exchanges with ethnic minorities in Xinjiang. Marked by the establishment of Protectorate of the Western Regions by the Han Dynasty, the Silk Road entered the era of prosperity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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2.三国时代，魏、蜀、吴均有丝绸生产，而吴雄踞江东，汉末三国正处在海上丝绸之路从陆地转向海洋的承前启后与最终形成的关键时期。&lt;br /&gt;
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During the Three Kingdoms Period, the states of Wei, Shu and Wu all produced silk. And Wu stood firmly on the east bank of the Yangtze River. In the late Han Dynasty, the three states were at a crucial period when the Maritime Silk Road shifted from the land to the sea and eventually took shape. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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3.澳门由于在明嘉靖年间由朝廷让与葡萄牙人，因此在明末清初的西学东渐中，西方传教士常以澳门为中继站，而一些学术思想亦经由此逐渐传入中国内地，而许多与西人打交道的中国人亦在澳门及广州等地学习西方语言及文化。&lt;br /&gt;
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Since Macau was ceded to the Portuguese by the imperial court during the years of Jaijing in the Ming Dynasty, Western missionaries often regarded it as a transition for eastward spreading of Western learning during the late Ming and early Qing dynasties, and some academic ideas were gradually introduced to the Chinese mainland, while many Chinese who had dealings with Westerners also learned Western languages and cultures in Macau and Guangzhou. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务派后期创办的民用工业，投资大多采取官督商办和官商合办形式，产品主要作为商品投放市场，管理上采取劳动雇佣制，所以其本质上属于带有封建因素的资本主义性质的企业。&lt;br /&gt;
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The civil industry founded by Westernization Group in the late period of the Movement was funded mostly by taking the government-supervised and merchant-managed form and the government-merchant cooperation. Its products were mainly put on the market as commodities and its management adopted the labor-employment system, so that it belongs to capitalist enterprises in essence featuring feudalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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1.丝绸之路不仅是古代亚欧互通有无的商贸大道，还是促进亚欧各国和中国的友好往来，沟通东西方文化的友谊之路。&lt;br /&gt;
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The Silk Road is a commercial avenue for exchanges between Asia and Europe in ancient times as well as a road of frienndship that promotes friendly exchanges between Asian and European countries and China.&lt;br /&gt;
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The Silk Road is not only a commercial avenue for exchanges of needed goods between ancient Asia and Europe, but also a road of friendship that promotes friendly communications, and cultural exchanges between China and European countries.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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2.在群星璀璨的中华英杰中，郑和不但以先于西方人航海，胜于西方人的航海技术受到国际社会的关注，而且以其所代表的一种文化精神得到人们的关注。&lt;br /&gt;
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Among the distinguished Chinese heroes, Zheng He not only got the attention for his sailing sills which precended and surpassed Westerns, but also attracted people's attention with the cultural spirit he represented.&lt;br /&gt;
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Among the distinguished Chinese heroes, Zheng He received international concerns not only because of his navigation skills which surpassed the Westerners, but also for a cultural spirit he represented.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐意味着以西方之学术，灌输于中国，使中国日趋于文明富强之境。&lt;br /&gt;
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The eastwars spread of western learning means instilling in China with Weastern academics so as to make China more civilized and prosperous.&lt;br /&gt;
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The Eastward Spread of Western Learning means to instill western academics into China so as to make it more civilized and prosperous.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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4.处于传统国家和农业文明体系下的中国在面对经过资产阶级革命后的现代国家和工业文明的英国的挑战时显得不堪一击。&lt;br /&gt;
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Under the traditional agricultural civilization system, China was such vulnerable to the challenges from England, which was already a modern and highly industrilized country after the bourgeois revolution. --[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:15, 27 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
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Under the traditional agricultural system, China was too vulnerable to face challenges from the British, which was already a modern and highly industrialized country after the bourgeois revolution.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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==Dashkin, Gennadii==&lt;br /&gt;
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1.In 119 BC, Zhang Qian set off on his second journey to the Western Regions.&lt;br /&gt;
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公元前119年，张谦出发了他的第二次西域之旅--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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2.While Zheng's fleet showed off Chinese might and naval prowess, orthodox Chinese histories depict him as never engaging in gunboat diplomacy, rather developing friendships with foreign leaders. &lt;br /&gt;
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郑的舰队展示了中国的威力和海军实力，而正统的中国历史则将他描绘为从未从事炮舰外交，而是与外国领导人发展友谊。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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3.The eastward transmission of Western learning refers to the transmission of Western cultures in China in the mid-1800s.&lt;br /&gt;
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西方学习向东传播是指1800年代中期西方文化在中国的传播--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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4.China has always been a planned economy where the government played a big role in deciding how the country should be controlled. &lt;br /&gt;
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中国一直是计划经济国家，政府在决定如何控制国家方面发挥着重要作用。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。&lt;br /&gt;
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A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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A vast batch of historical relics, fascinating scenery and interesting local cultures along the Silk Road enable this long trip to be one of the world’s most exciting tourist attractions.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)&lt;br /&gt;
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2.作为一个具有野心的拥有回族血统的穆斯林太监、一个典型的游离于儒家学者精英体制之外的人，郑和在1405到1433年间七下西洋，其中六次都在永乐帝的支持下进行。&lt;br /&gt;
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An ambitious Muslim eunuch of Hui descent, a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433 with six of them under the auspices of Yongle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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As an ambitious Muslim eunuch of Hui descent and a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433, with six expeditions under the auspices of Yongle.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:26, 26 December 2020 (UTC)&lt;br /&gt;
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3.从19世纪下半叶到20世纪初,伴随着“西学东渐”的进程,西方妇女生活现状、人权思想及女权理论渐次传入中国,引起了中国思想界的关注。&lt;br /&gt;
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From the second half of 19th century to the beginning of 20th century, with the progress of the eastward spread of western learning, western women's living situations, thoughts of human rights and feminist theories were gradually introduced into China and attracted the attention of the Chinese ideological circle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。&lt;br /&gt;
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Under the direction of modern-thinking Han officials, western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to western models.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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Under the guidance of the Han scholars with modern thinking, people learned the science and language of the west opened special schools in some big cities. Armouries, factories and docks were also built with reference to Western models.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
1.张骞被誉为伟大的外交家、探险家，是“第一个睁开眼睛看世界的中国人”、“丝绸之路的开拓者”、“东方的哥伦布”。&lt;br /&gt;
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Zhang Qian, rated as a great diplomat and explorer, is &amp;quot;the first Chinese to open his eyes to see the world &amp;quot;,&amp;quot; the pioneer of the Silk Road&amp;quot; and &amp;quot;Columbus of the East &amp;quot;. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。&lt;br /&gt;
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Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
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The Eastward World Spread of Western Learning refers to the historical process of spreading western academic thought to China from the late Ming Dynasty to modern times. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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The Eastward World Spread of Western learning refers to the historical process from the late Ming Dynasty to modern times when western academic thoughts spread to China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:08, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
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Westernization Movement, also known as self-strengthening movement. It is a self-help movement that introduced western military equipment, machine production and science and technology to save the rule of Qing Dynasty from 1860s to 1990s by Westernization School. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
1、张骞出使西域这一历史事件具有特殊的历史意义。张骞对开辟从中国通往西域的丝绸之路有卓越贡献，至今举世称道。&lt;br /&gt;
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Zhang Qian’s westward travel is of historic and special significance in Chinese history. Zhang Qian made excellent contributions to the opening of the Silk Road from China to “The Western Regions”, which is even praised by today’s world.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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2、陆路是中西往来的最古老的通道，其主要工具是马和骆驼。但牲畜负载有限，费用巨大。此外沿途自然条件艰险，安全没有保障。所以当航海技术发展起来以后，海路在中西交通中所起的作用越来越重要。&lt;br /&gt;
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Land route is the oldest access between China and“The Western Regions” and the major transportation tools were horses and camels. However, the load of those livestock was limited and cost much. Besides, the natural environment along the land route was hard and dangerous, making travelers lost security assurance.Therefore, with the development of seamanship, sea route began to play an increasingly important role in the communications between China and “The Western Regions”. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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3、明万历年间，随着耶稣会传教士的到来，对中国的学术思想有所触动。传教士在传播基督教的教义同时，也传入大量科学技术。当时中国一些士大夫及皇帝接受了科学技术上的知识，但是在思想上基本没有受到影响。&lt;br /&gt;
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During Wanli period of Ming Dynasty, as the coming of Jesuit missionaries in China, Chinese academic thought was slightly effected by western thought. At the same time of the spreading of Christian doctrines by those missionaries, a large amount of science and technology was introduced into China. Back then, Chinese emperor and some officials accepted knowledge of western science and technology,but their thought didn’t be influenced by the knowledge.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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4、洋务运动进行30多年虽然没有使中国富强起来，但洋务运动引进了西方先进的科学技术，使中国出现了第一批近代企业，在客观上为中国民族资本主义的产生和发展起到了促进作用。&lt;br /&gt;
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The westernization movement which lasted for over 30 years did not make China become richer or stronger, but it introduced the advanced western science and technology which stimulated the emergence of the first modern enterprises, objectively promoting the emergence and development of Chinese national capitalism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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==Grosheva, Anna==&lt;br /&gt;
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1. To Zhang's surprise, satisfied with their life, the Da Yuezhi people refused to make an alliance against the Huns. &lt;br /&gt;
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令张某惊讶的是，大月之人对自己的生活感到满意，拒绝与匈奴结盟。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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2. He is thought to have become interested in Buddhist teachings later in life and died in India. &lt;br /&gt;
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人们认为他晚年对佛教教义感兴趣，并在印度去世。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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3. This study analyzes four stages of the development of modern sports in Shanghai: germination, growth, thriving, and depression. &lt;br /&gt;
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这项研究分析了上海现代体育发展的四个阶段：发芽，成长，繁荣和沮丧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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4. By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones.&lt;br /&gt;
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到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在完成其他主要新地区的整合。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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1.丝绸之路是我国古代一条连接中国和欧亚大陆的交通线路，由于这条商路以丝绸贸易为主，故称为“丝绸之路”。&lt;br /&gt;
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The Silk Road is a traffic route in the ancienttimes connecting China and Eurasia. This trade route focuses on the trade of silk, hencethe name &amp;quot;theSilk Road&amp;quot;.&lt;br /&gt;
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2.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代路上商业贸易路线。狭义上讲指陆上丝绸之路。广义上讲分为陆上丝绸之路和海上丝绸之路。“陆上丝绸之路”形成于于公元前2世纪与公元1世纪间，直至16世纪仍保留使用，以西汉时期长安为起点(东汉时为洛阳)，经河西走廊到敦煌。“海上丝绸之路”形成于秦汉时期。&lt;br /&gt;
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The &amp;quot;Silk Road&amp;quot; refers to the ancient commercial trade routes starting from China and connecting Asia,Africa and Europe.In a broad sense,it is divided intothe silk road  on the land and silk road on the sea.The &amp;quot;land silk road&amp;quot;opened between the 2nd century BC and the 1st century AD and remained in use until the 16th century.It started from Chang'an in the Western Han Dynasty(or Luoyang in the Eastern Han Dynasty)to Dunhuang via the Gansu Corridor. The &amp;quot;silk road on the sea&amp;quot; formed in the Qin and Han Dynasty.&lt;br /&gt;
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3.在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。&lt;br /&gt;
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The rising modern press deeplytransformed the traditional aesthetic mechanism from thecontent to the form. Then themodern press has facilitated the modern reforms of Chinese esthetics.&lt;br /&gt;
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4.洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。&lt;br /&gt;
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Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China.The Taiping movement accelerated the progress of &lt;br /&gt;
China's modernhistory andpromoted the Westernization movement.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:18, 28 December 2020 (UTC)&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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==Guirou, Barthelemy==&lt;br /&gt;
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1. The Silk Road was an ancient network of trade routes, formally established during the Han Dynasty of China, which linked the regions of the ancient world in commerce between 130 BCE-1453 CE.&lt;br /&gt;
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丝绸之路是一条古老的贸易路线网，在中国汉朝期间正式建立，它连接了公元前130年至1453年之间的古代世界贸易地区。&lt;br /&gt;
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2. The maritime Silk Road was a conduit for trade and cultural exchange between China's south-eastern coastal areas and foreign countries. There were two major routes: the East China Sea Silk Route and the South China Sea Silk Route .&lt;br /&gt;
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海上丝绸之路是中国东南沿海地区与外国之间进行贸易和文化交流的渠道。有两条主要路线：东中国海丝绸之路和南中国海丝绸之路。&lt;br /&gt;
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3. The Westernization Movement, also called the Self-Strengthening Movement, was championed by some Qing government officials from the early 1860s to the middle 1890s. Its aim was to introduce Western technology and modern industrial equipment. This nationwide movement failed because its advocates were unwilling to disturb the status quo of the ruling class. The Sino-Japanese War, which began in 1804 and ended with the annihilation of China’s Beiyang Fleet, exposed the utter failure of the three-decade-long Westernization Movement. As a result, reform-minded Chinese had to seek new ways to save the nation.&lt;br /&gt;
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自1860年代初至1890年代中期，一些清政府官员就发起了洋务运动，也被称为自强运动。其目的是引进西方技术和现代工业设备。这项全国性运动失败了，因为其拥护者不愿打扰统治阶级的现状。抗日战争始于1804年，结束于北洋舰队的歼灭。这场长达3年之久的洋务运动彻底失败了。结果，具有改革意识的中国人不得不寻求新的方法来拯救国家。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:17, 27 December 2020 (UTC)&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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1. 丝绸之路是古代横贯亚欧的通道。其起点一般认为是长安（今西安），其实它随朝代更替政治中心转移而变化。长安（今西安）、洛阳、平城（今大同）、汴梁（今开封）、北京曾先后为丝路起点。&lt;br /&gt;
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The Silk Road is an ancient across of asia-europe. Its starting point is usually ascribed to Changan (now xian), actually the starting point is changed according to the changed political center. Changan (now Xian), Luoyang, Pingcheng (now Datong), Bianliang (today Kaifeng), and Beijing has been the starting point of the  Silk Road.&lt;br /&gt;
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The Silk Road was an ancient crossing between Asia and Europe. Its starting point is generally considered to be Chang'an (present-day Xi'an). In fact, it changes with the change of the political center of dynasties. Chang'an (present-day Xi'an), Luoyang, Pingcheng (present-day Datong), Wei Liang (now Kaifeng), Beijing has been the starting point of silk road.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:09, 27 December 2020 (UTC)&lt;br /&gt;
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2. 海上丝绸之路较之陆上，有共性，也有特性；有优势和潜力，也有难度和挑战。要推进21世纪海上丝绸之路建设，要在对接合作上下功夫。&lt;br /&gt;
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Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characters. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, I believe the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate our cooperation.&lt;br /&gt;
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Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characteristics. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate cooperation.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:14, 25 December 2020 (UTC)&lt;br /&gt;
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3. 在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。 &lt;br /&gt;
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The rising modern press during the period of the Eastward Spread of Western Learning deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.&lt;br /&gt;
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4. 这场运动由士大夫们领导，比如李鸿章（1823——1901）和左宗棠（1812——1885），他们曾在太平起义中与政府军作战。1861到1894年间，现在成为大臣们的这些人负责建立了现代的机构，发展基础工业、通信和交通业并是军队现代化。&lt;br /&gt;
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The movement was championed by scholar-generals like Li Hongzhang (1823—1901) and Zuo Zongtang (1812—1885), who had fought with the government forces in the Taiping Rebellion. From 1861 to 1894, leaders such as these, now turned scholar-administrators, were responsible for establishing modem institutions, developing basic industries, communications, and transportation, and modernizing the military.&lt;br /&gt;
--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:01, 24 December 2020 (UTC)&lt;br /&gt;
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==Ha, Thi Thu Hang==&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
1.张骞（前164年-前114年），字子文，西汉外交家、探险家，是“丝绸之路的开拓者”“东方的哥伦布”。 前139年，张骞奉汉武帝之命，出使西域，打通了汉朝通往西域的道路，即赫赫有名的丝绸之路，促进了东西方文明的交流。汉武帝以军功封其为博望侯。史学家司马迁高度称赞了其出使西域。&lt;br /&gt;
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Zhang Qian( B.C. 164- B.C. 114), whose style name is Ziwen, was the diplomat and explorer in Western Han dynasty. He was called as the pioneer of the Silk Road and the Columbus of the East. In B.C. 139, at the  command of Emperor Wu of Western Han dynasty, Zhang Qian visited Western Regions and carved out a way, advancing the communication between the Eastern and Western civilization. Therefore, Emperor Wu of the Han dynasty granted him the title of Marquis Bowang with military merit. And Historian Sima Qian highly praised his work.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路是古代中国与外国交通贸易和文化交往的海上通道，分为东海航线和南海航线两条线路，主要以南海为中心。海上丝路萌芽于商周，发展于春秋战国，形成于秦汉，兴于唐宋，转变于明清，是已知最为古老的海上航线。 海上丝绸之路途经100多个国家和地区，是中国与外国贸易往来和文化交流的海上大通道，推动了沿线各国的共同发展。&lt;br /&gt;
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The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries. It was divided into two routes, the East China Sea route and the South China Sea route, with the South China Sea as the center. The Maritime Silk Road originated in the Shang and Zhou dynasties, developed in the Spring and Autumn and Warring States periods, formed in the Qin and Han dynasties, flourished in the Tang and Song dynasties, and transformed in the Ming and Qing dynasties. And it is the oldest known maritime route. The Maritime Silk Road, passing through more than 100 countries and regions, is a major maritime corridor for trade and cultural exchanges between China and foreign countries and has promoted the common development of countries along the route.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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The Maritime Silk Road was a maritime passage for communication and cultural exchanges between China and foreign countries in ancient times. Divided into two routes, the East China Sea and the South China Sea, with the South China Sea as the center. The Maritime Silk Road sprouted in the Shang and Zhou Dynasties, developed in the Spring and Autumn Period and Warring States Period, formed in the Qin and Han Dynasties, prospered in the Tang and Song Dynasties, and transformed in the Ming and Qing Dynasties. It is the oldest known maritime route. The Maritime Silk Road passes through more than 100 countries and regions. It is a major maritime channel for trade and cultural exchanges between China and foreign countries, and promotes the common development of countries along the route.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:40, 27 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐是指近代西方学术思想向中国传播的历史过程，通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。&lt;br /&gt;
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The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times. Generally speaking, it is the introduction of academic ideas from Europe and America in the late Ming and early Qing dynasties and the early Ming and Early Ming Dynasties.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动是19世纪60到90年代晚清洋务派进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。 前期，洋务派以“自强”为旗号，创办了一批近代军事工业。后期，以“求富”为旗号，兴办了一批民用工业。甲午中日战争中，北洋海军全军覆没，洋务运动宣告破产。洋务运动虽然没有使中国富强起来，但期间引进了西方先进的科学技术，客观上促进了民族资本主义的产生和发展。&lt;br /&gt;
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The Westernization Movement was a self-help movement carried out by the Westernization Group of the Qing Dynasty from the 1960s to the late 1990s, which introduced western military equipment, machine production and science and technology to save the Qing dynasty. In the early stage, the Westernization Movement established a number of modern military industries under the banner of &amp;quot;self-improvement&amp;quot;. In the later period, under the banner of &amp;quot;seeking wealth&amp;quot;, lots of civil industries were set up. In the Sino-Japanese War of 1894-1895, the entire Beiyang Navy was wiped out, and the Westernization Movement was bankrupt. Although Westernization Movement did not make China rich and powerful, it drew in advanced science and technology from the West, which objectively promoted the emergence and development of national capitalism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
1.人们通常讲&amp;quot;丝绸之路&amp;quot;的开端,都是从汉代张骞通西域开始,他的&amp;quot;凿空&amp;quot;事业居功至伟,标志着&amp;quot;丝绸之路&amp;quot;的正式开通。&lt;br /&gt;
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People usually talk about the beginning of the &amp;quot;Silk Road&amp;quot;, are from the Han Dynasty, Zhang Qian through the Western Regions began, his &amp;quot;chiseling&amp;quot; business is a great credit, marking the official opening of the &amp;quot;Silk Road&amp;quot;.&lt;br /&gt;
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2.在15世纪的明朝永乐时期,郑和七下西洋,将先进的中华物质文化、精神文化和政教文化远播海外,谱写了人类航海史上的新篇章,稳定了当时的东南亚国际秩序,开辟了中国—印度洋航路,将古代海上丝绸之路推向鼎盛。&lt;br /&gt;
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In the 15th century, during the Yongle period of the Ming Dynasty, Zheng He made seven trips to the West, spreading advanced Chinese material, spiritual, political and religious culture overseas, writing a new chapter in the history of human navigation, stabilizing the international order in Southeast Asia at that time, opening up the China-Indian Ocean route, and bringing the ancient Maritime Silk Road to its heyday.&lt;br /&gt;
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During the Yongle period of the Ming Dynasty in the 15th century, Zheng He made seven voyages to the West, spreading advanced Chinese material culture, spiritual culture, and political and religious culture abroad, writing a new chapter in the history of human navigation, stabilizing the international order of Southeast Asia at that time, and opening up The China-Indian Ocean Route pushed the ancient Maritime Silk Road to its peak.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)&lt;br /&gt;
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3.近代的西学东渐,对中国社会产生了广泛而深远的影响,改变了中国人对外部世界的认识。几乎所有的西学门类,以及各种各样的思潮、学说、观念都先后传入中国,在新与旧、古与今、中与外的碰撞中,中国的各种学术得到了极大的开拓和发展。&lt;br /&gt;
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The Western learning in modern times had a wide and far-reaching impact on Chinese society and changed the Chinese people's understanding of the outside world. Almost all the Western disciplines, as well as all kinds of ideas, doctrines and concepts, were introduced to China one after another, and in the collision between the old and the new, the ancient and the modern, and the Chinese and the foreign, Chinese scholarship was greatly developed.&lt;br /&gt;
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The spread of western learning in modern times has had a broad and far-reaching impact on Chinese society, and changed the Chinese people's understanding of the outside world. Almost all Western learning disciplines, as well as various ideological trends, doctrines, and concepts have been introduced to China. In the collision of new and old, ancient and modern, and China and foreign countries, various academic studies in China have been greatly developed. And development.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动是我国近代教育史的开端,可以说,它不仅是对我国传统教育的一次重要变革,更是我国现代教育制度萌芽的一个重要时期。&lt;br /&gt;
The westernization movement is the beginning of China's modern education history, it can be said that it is not only an important change to China's traditional education, but also an important period for the sprouting of China's modern education system.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:17, 27 December 2020 (UTC)&lt;br /&gt;
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The Westernization Movement is the beginning of modern education history in our country. It can be said that it is not only an important change to our traditional education, but also an important period of the germination of our modern education system.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
1.1417年，永乐皇帝下令郑和将使节送回国内。郑和和他的舰队再次回到海上启航，进行他的第五次远征（1417-1419）。他在许多相同的地方停留，包括爪哇岛、苏门答腊岛，还为他遇到的不同的统治者带来了信件和财富。&lt;br /&gt;
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By 1417, the Yongle Emperor ordered Zheng He to return the envoys home. Once more back on the seas, Zheng He and his large fleet set sail for his fifth expedition (1417-1419). He stopped in many of the same places, including Java, Sumatra, and also brought letters and riches to the different rulers Zheng He met. &lt;br /&gt;
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In 1417, Emperor Yongle ordered Zheng He to send the envoys back home. Zheng He and his fleet returned to sea again to set sail on his fifth expedition (1417-1419). He stopped at many of the same places, including Java and Sumatra, and also brought letters and wealth to the different rulers he met. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路从福建泉州开始, 是秦汉时期形成、三国时期发展到隋朝、盛唐宋朝、明清衰落的最早航程航线。&lt;br /&gt;
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Starting from Quanzhou Fujian Province, the maritime Silk Road was the earliest voyage route that was formed in the Qin and Han dynasties, developed from the Three Kingdoms Period to the Sui Dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties.&lt;br /&gt;
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The Maritime Silk Road began in Quanzhou, Fujian Province, and was the earliest voyage route formed during the Qin and Han dynasties, developed during the Three Kingdoms Period to the Sui dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐不仅客观上促成了马克思主义哲学在中国的广泛传播, 构成了马克思主义哲学中国化的一个重要历史前提, 而且引发了中国哲学历史发展过程中的重大变革, 推动了中国哲学从古代传统向近代传统的转变。&lt;br /&gt;
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The spread of Western learning to the East objectively promoted the dissemination of Marxist philosophy, forming an important historical precondition for its Sinicization. Moreover, it triggered a great transformation in the historical development of Chinese philosophy and facilitated its transition from an ancient to an early modern tradition.&lt;br /&gt;
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The eastward spread of Western learning has not only objectively contributed to the widespread dissemination of Marxist philosophy in China, constituting an important historical premise for the Chineseization of Marxist philosophy, but also triggered a major change in the historical development of Chinese philosophy, promoting the transformation of Chinese philosophy from the ancient to the modern tradition. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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4.鸦片战争、不平等条约和19世纪中叶的大规模起义的残酷现实，使清朝朝臣和官员认识到壮大中国的必要性。自19世纪40年代以来，中国学者和官员一直在研究和翻译“西学”。&lt;br /&gt;
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The rude realities of the Opium War, the unequal treaties, and the mid- 19th century mass uprisings caused Qing courtiers and officials to recognize the need to strengthen China. Chinese scholars and officials had been examining and translating &amp;quot;Western Learning&amp;quot; since the 1840s.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:05, 25 December 2020 (UTC)&lt;br /&gt;
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The harsh realities of the Opium War, the unequal treaties, and the mass uprisings of the mid-19th century made courtiers and officials of the Qing Dynasty realize the need to strengthen China. Since the 1840s, Chinese scholars and officials had been studying and translating &amp;quot;Western Learning&amp;quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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1. 汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。这条通道，就是后世闻名的“丝绸之路”。丝绸之路则成为“一带一路”的重要历史符号，使得我们高举和平发展的旗帜，积极发展与沿线国家的经济合作伙伴关系。 &lt;br /&gt;
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Although the missions to the western Regions in the Han Dynasty were originally aimed for military purposes, their influence went far beyond the military scope. This passageway was later known as the Silk Road. The silk road has become an important historical symbol of &amp;quot;One Belt And One Road&amp;quot;, which makes us hold high the banner of peaceful development and actively develop economic partnership with countries along the route.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)&lt;br /&gt;
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2. 郑和当时率领着世界上最强大的船队下西洋，带去的不是血与火、掠夺与殖民，而是瓷器、丝绸、茶叶。下西洋是世界航海史上的壮举，现在东南亚一带还有许多几年内郑和的建筑物，表达了人们对他的尊敬。&lt;br /&gt;
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Leading the most powerful fleet in the world, Zheng He made seven voyages to the Western Seas, bringing there porcelain, silk and tea, rather than bloodshed, plundering or colonialism.  Zheng He's voyages were a great feat in the world's navigation history. There are still many buildings in present Southeast Asia dedicated to his memory.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)&lt;br /&gt;
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3. 自十七世纪开始的西学东渐，对明清之际实学思潮的兴起起到了催生作用。&lt;br /&gt;
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Since the 17th century, the west knowledge spread to the east gradually, which accelerated the rise of ideological trend during the period of Ming and Qing dynasty.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)  &lt;br /&gt;
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Eastward Spread of Western Learning starting from the 17th century accelerated the rise of ideological trend during the period of Ming and Qing dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:04, 27 December 2020 (UTC)&lt;br /&gt;
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4. 洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。洋务教育是洋务派为了满足洋务运动的需要，培养洋务人才进行的教育变革。&lt;br /&gt;
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The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enllightenment in China. Westernization education was an education reformation launched by Westernization Faction intending to meet the needs of cultivating new-type talents.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)&lt;br /&gt;
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The historical role of the foreign affairs movement is not only in the economy, but also in the enlightenment of modern Chinese thought. Westernization education is the educational reform carried out by Westernization Faction in order to meet the needs of cultivating new-type talents.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。&lt;br /&gt;
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Zhang Qian has made two missions to the Western Regions, opening up the land transportation between China and Central Asia, West Asia, South Asia and even Europe. Since then, the Chinese have sold silk, tea, lacquerware and other products to the Western Regions and Central Asia and other countries through this road, while importing gems, glassware and other products from Europe, West Asia and Central Asia.&lt;br /&gt;
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2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries, which was mainly centered on the South China Sea, so it was also known as the South China Sea Silk Road. The Maritime Silk Road was formed during the Qin and Han Dynasties, developed during the Three Kingdoms to the Sui Dynasty, flourished during the Tang and Song Dynasties, and transformed during the Ming and Qing Dynasties, which is the oldest maritime route known to people.&lt;br /&gt;
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3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术活动的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。&lt;br /&gt;
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The Eastward Spread of Western Learning brought various new academic achievements in modern West into China, which deeply influenced the development of various academic activities, and many academic disciplines that were not valued or even did not exist in traditional China also developed under this influence.&lt;br /&gt;
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4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
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Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:42, 25 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
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==Lo, Minh Thao==&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
1 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。&lt;br /&gt;
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The Overland Silk Road originated from the Western Han Dynasty (202-8 BC), when Emperor Wudi of the Han Dynasty sent Zhang Qian on a mission to the western Regions. Starting from the capital Chang 'an (now Xi 'an), it passed through Gansu and Xinjiang, reached central Asia and West Asia, and connected the Mediterranean countries on land. In the Eastern Han Dynasty, the starting point of the Silk Road was Luoyang. Its primary function was to transport silk produced in ancient China.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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2 郑和具备军事才能，并且得到朱棣的信任。在朱棣决策下西洋时，郑和正当壮年。朱棣曾询问袁忠彻以郑和率军出使是否合适，袁忠彻认为合适。&lt;br /&gt;
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Zheng He had military talents and Zhu Di trusted him. When Zhu Di was planning to the West, Zheng He was in his prime. Zhu Di had asked Yuan Zhongche whether Zheng was the right person on such massion. Yuan Zhongche thought he was appropriate.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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3 徐光启较早师从利玛窦学习西方的天文、历法、数学、测量和水利等科学技术，毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。&lt;br /&gt;
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Xu Guangqi studied western science and technology such as astronomy, calendar, mathematics, measurement and water conservancy under Matteo Ricci. He devoted his whole life to the research of science and technology and wrote assiduously. He was an active promoter in introducing and absorbing European science and technology and made important contributions to the cultural exchanges between China and the West in the 17th century.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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4 曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。&lt;br /&gt;
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Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。&lt;br /&gt;
A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.&lt;br /&gt;
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2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。&lt;br /&gt;
Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.&lt;br /&gt;
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3.西学东渐是指近代西方学术思想向中国传播的历史过程。&lt;br /&gt;
The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times.&lt;br /&gt;
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4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:28, 27 December 2020 (UTC)&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点。&lt;br /&gt;
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The traditional silk road starts from Chang'an, the ancient capital of China, and reaches the Mediterranean Sea through Central Asian countries, Afghanistan, Iran, Iraq, Syria, etc. with Rome as the end point.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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2.在地文航海技方面，郑和下西洋的地文航海技术，是以海洋科学知识和航海图为依据，运用了航海罗盘、计程仪、测深仪等航海仪器，按照海图、针路簿记载来保证船舶的航行路线。&lt;br /&gt;
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In terms of geographical navigation technology, Zheng He's geographical navigation technology was based on marine scientific knowledge and nautical charts. He used navigational instruments such as compass, log and depth sounder to ensure the navigation route of the ship according to the records of charts and needle books.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。&lt;br /&gt;
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After the Sino Japanese War, because China was facing with the fate of national destruction, many people of insight began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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4.经过两次鸦片战争的失败，以及太平天国的打击，清朝内外交困，清朝的一部分官僚开始认识到西方坚船利炮的威力。为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。&lt;br /&gt;
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After the defeat of the two Opium Wars and the attack of the Taiping Heavenly Kingdom, the Qing Dynasty was beset by internal and external troubles, and some of the bureaucrats in the Qing Dynasty began to realize the power of the western strong ships and cannons. In order to relieve domestic and foreign troubles, enrich the country and strengthen the army, and maintain the rule of the Qing Dynasty, they began to learn western culture and advanced technology.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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1.汉通西域，虽然起初是出于军事目的，但丝绸之路开通以后，它的影响，远远超出了军事范围。&lt;br /&gt;
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Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far beyond the military scope after the opening of the Silk Road.&lt;br /&gt;
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Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far-reaching, well beyond the military scope after the opening of the Silk Road.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:38, 26 December 2020 (UTC)&lt;br /&gt;
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2.明初工商业的恢复和发展，宋、元以来中国海外贸易的发达，对外移民的增加，所有这一切，都为郑和下“西洋”准备了坚实的经济基础和物质条件。&lt;br /&gt;
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The recovery and development of industry and Commerce in the early Ming Dynasty, the development of China's overseas trade since the song and Yuan Dynasties, and the increase of foreign immigrants all prepared a solid economic foundation and material conditions for Zheng He's &amp;quot;western&amp;quot; voyage.&lt;br /&gt;
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3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。&lt;br /&gt;
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Matteo Ricci spread the western knowledge of geometry, geography and humanism to the Chinese society, which initiated the practice for the literati to absorb western learnings in the late Ming Dynasty.&lt;br /&gt;
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Ricci spread western knowledge of geometry and geography as well as humanist views to Chinese society, opening the way for scholars in the late Ming Dynasty to absorb western studies.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)&lt;br /&gt;
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4.江南制造局虽是清末洋务派创办的规模最大的兵工厂，但是技术上仍是由外国技师垄断．&lt;br /&gt;
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Although Jiangnan Manufacturing Bureau was the largest arms factory founded by Westernization Group in the late Qing Dynasty, it was still monopolized by foreign technicians in the aspect of technique.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:33, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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Although Jiangnan Manufacturing Bureau was the largest arsenal founded by the Westernization Group in the late Qing Dynasty, the technology was still monopolized by foreign technicians.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)&lt;br /&gt;
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==Ngo, Thi Minh Huong==&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
1.建元二年（前139年），张骞率领100多名随行人员，由匈奴人堂邑父为向导从长安出发前往西域。西行进入河西走廊。这一地区自月氏人西迁后，已完全为匈奴人所控制。正当张骞一行匆匆穿过河西走廊时，不幸碰上匈奴的骑兵，他们全部被抓获。&lt;br /&gt;
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In the second year of Jianyuan(139 B.C.), Zhang Qian set off to the Western Regions leading an entourage of more than 100 men from Chang'an under the guidance of Tang Yifu who is a Hun. They travelled westward into the Hexi Corridor which had been completely controlled by the Huns since they moved westward. When they tried to hurry through this region, unfortunately they met the Hun cavalry, and they were all captured.&lt;br /&gt;
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2.郑和下西洋所到之处主要是开展贸易活动，以“朝贡贸易”为基本形式，同时推行“官方贸易”、带动“民间互市”等。&lt;br /&gt;
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Zheng He's voyages are mainly to carry out trade activities, during which they took &amp;quot;tribute trade&amp;quot; as the basic activity, and at the same time promoted &amp;quot;official trade&amp;quot; and &amp;quot;non-governmental trade&amp;quot;.&lt;br /&gt;
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3.在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们，在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。&lt;br /&gt;
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From the late Ming Dynasty to the early Qing Dynasty, missionaries played an important role in the Eastward Spread of Western Learning. While trying to introduce Catholicism into China, the missionaries mainly composed of the Catholic Jesuits introduced western scientific and technological thoughts and translated a large number of western academic books.&lt;br /&gt;
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4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。&lt;br /&gt;
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During the 35 years of Westernization Movement, the development of cultural publishing reached an unprecedentedly high level. The translation of books experienced a process from the dominance of western scientific and technological works to the emphasis laid equally on works of natural and social sciences and humanities, and even the latter took the majority.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 12:15, 24 December 2020 (UTC)&lt;br /&gt;
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1. In the second year of Jian Yuan (139 BC), Zhang Qian led more than 100 serve men, with the Xiongnu man Tang Yi as the guide, to set off from Chang’ an to the West. This area has been completely controlled by the Xiongnu since the westward migration of the Ziyue people. Just as Zhang Qian passed through the Hexi Corridor, they unfortunately ran into the Xiongnu cavalry, who captured them all.&lt;br /&gt;
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2. Zheng He mainly carried out trade activities in all the places he visited, taking “tribute trade” as the basic form. At the same time, he also promoted “official trade” and “private mutual market”.&lt;br /&gt;
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3. In the wave of Western learning in the late Ming and early Qing dynasties, missionaries played an important role, mainly the Jesuit missionaries, who tried to introduce Catholicism into China, introduced Western scientific and academic ideas, and translated a large number of Western academic books.&lt;br /&gt;
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4. During the 35 years’ Westernization Movement, the development of publishing reached an unprecedented level. The translation of books went through a process from purely Western scientific and technological works and books to works on natural sciences and social sciences, humanities, etc., with the latter even slightly prevailing.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:54, 25 December 2020 (UTC)Yang chenting&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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==Phyo, Su Kyi==&lt;br /&gt;
1-张谦出生于西汉（公元前206年至公元24年）的城固县（今陕西省城固县）。他是中国历史上杰出的使节和探险家，开辟了古老的丝绸之路，并带来了有关西部地区的可靠信息.&lt;br /&gt;
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Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 BC-24 AD). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions.&lt;br /&gt;
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Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 B.C.-24 A.D.). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions to China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)&lt;br /&gt;
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2-郑和（1371-1433）是一位伟大的中国探险家和舰队司令。他进行了七次主要探险，以探索中国皇帝的世界并在新地区建立中国贸易。&lt;br /&gt;
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Zheng He (1371 - 1433) was a great Chinese explorer and fleet commander. He went on seven major expeditions to explore the world for the Chinese emperor and to establish Chinese trade in new areas.&lt;br /&gt;
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Zheng He, a great Chinese explorer and fleet captain, has carrried out 7 major explorations to broaden Chinese emperor's world and establish Chinese trade in new regions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:02, 24 December 2020 (UTC)&lt;br /&gt;
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3-西方的儒道教说，为中西文化交流做出了贡献。&lt;br /&gt;
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The West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchange between China and the West.&lt;br /&gt;
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The Chinese Confucian and Daoist doctrines in the West, and made contributions to cultural exchange between China and the West.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)&lt;br /&gt;
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4-自强运动，又称为洋务运动（西洋运动或西洋运动）（约1861年至1895年），是鸦片战争的军事灾难后在清朝后期在中国发起的体制改革时期。&lt;br /&gt;
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The Self-Strengthening Movement, also known as the Westernization or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing dynasty following the military disasters of the Opium Wars.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 09:43, 24 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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The Self-Strengthening Movement, also known as the Westernization Movenment or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing Dynasty following the military disasters of the Opium Wars.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)&lt;br /&gt;
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==Pingki, Tanchangya==&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
1、丝绸之路是起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线，最初的作用是运输古代中国出产的丝绸、瓷器等商品，后来成为东方与西方之间在经济、政治、文化等诸多方面进行交流的主要道路。&lt;br /&gt;
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The Silk Road was an ancient overland commercial and trade route connecting Asia, Africa and Europe that started from ancient China. Its initial function was to transport commodities such as silk and porcelain produced in ancient China. Later, it became the main road for economic, political and cultural exchanges between the East and the West.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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2、郑和下西洋，是15世纪初叶世界航海史上的空前壮举， 对中外经济、文化交往起到了积极作用；郑和本人，也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。 晚清以降，郑和研究获得迅速发展，但不少重要课题仍无定论。&lt;br /&gt;
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Zheng He's voyages to the West were an unprecedented feat in the maritime history of the world at the beginning of the 15th century, which played a positive role in the economic and cultural exchanges between China and foreign countries. Zheng himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and memory of the world. Since the late Qing Dynasty, the study of Zheng has achieved rapid development, but many important issues are still not conclusive.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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3、徐光启，上海人，是自李时珍后的明代又一位杰出的科学家。他生于嘉靖41年即公元1562年，父亲是个小商人，家里有一点土地，但日子过得并不宽裕，所以徐光启从小就从事农业生产劳动，这对他后来的成长有很大影响。&lt;br /&gt;
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Xu Guangqi, a Native of Shanghai, was another outstanding scientist in the Ming Dynasty after Li Shizhen. He was born in 1562, the year of the 41st emperor jiajing. His father was a merchant and his family had a little land, but his life was not very well-off. Therefore, Xu Guangqi was engaged in agricultural production and labor from an early age, which had a great influence on his later growth.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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4、曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。&lt;br /&gt;
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Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
1.丝绸之路促进了中外经济文化的交流，也密切了汉族与沿途的其他少数民族的关系，促进了我国西北地区的开发。&lt;br /&gt;
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The Silk Road has enhanced economic and cultural exchanges between China and foreign countries, as well as closer relations between the Han nationality and other minorities along the route, and promoted the development of the northwest China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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2.21世纪海上丝绸之路的战略合作伙伴并不仅限与东盟，而是增进同沿边国家和地区的交往，串起连通东盟、南亚、西亚、北非、欧洲等各大经济板块的市场链，发展面向南海、太平洋和印度洋的战略合作经济带，以亚欧非经济贸易一体化为发展的长期目标。&lt;br /&gt;
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The strategic partners of the Maritime Silk Road in the 21st century are not only limited to ASEAN, but also to promote exchanges with countries and regions along the border, linking the market chains of ASEAN, South Asia, West Asia, North Africa, Europe and other major economic sectors, and developing a strategic cooperative economic belt for the South China Sea, the Pacific Ocean and the Indian Ocean, with Asia-Europe and Africa economic and trade integration as the long-term goal of development.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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3.发生在明末清初并且延续到清朝中叶，伴随着耶稣会士来华传教而展开的西方科技传入中国的历史事件，被称为西学东渐第一波。它给中国科技发展带来了全新的可能性。&lt;br /&gt;
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The historical event of the introduction of Western science and technology into China, which took place in the late Ming and early Qing dynasties and lasted until the middle of the Qing dynasty, accompanied by the Jesuits' mission to China, is known as the first wave of The Eastward Spread of Western Learning. It brings new possibilities to the development of science and technology in China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动虽然有种种缺陷和弊端，但主要历史作用是积极的，是中国近代史上的一次进步运动。它促进了民族资本主义的发展，延缓了而不是加速了中国半殖民地化的进程。&lt;br /&gt;
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Although the Westernization Movement has various defects and drawbacks, its main historical role is positive. As a progressive movement in the modern history of China, it promoted the development of national capitalism and delayed rather than accelerated the process of China's semi-colonization.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。&lt;br /&gt;
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The land Silk Road originated from the Western Han Dynasty (BC 202-AD 8 ) when Emperor Wu of Han Dynasty dispatched Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, with connection to Mediterranean countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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2.向西航行的郑和七下西洋：这是明朝政府组织的大规模航海活动，曾到达亚洲、非洲39个国家和地区，这对后来达·伽马开辟欧洲到印度的地方航线，以及对麦哲伦的环球航行，都具有先导作用。&lt;br /&gt;
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Westward sailing of Zheng He's seven voyages was a large-scale sailing activity organized by the Ming government, which travelled 39 countries and regions in Asia and Africa, which had a pioneering effect on the Da Gamma’s opening up the local route from Europe to India, as well as on Magellan's worldwide voyage.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。中国人经过西学的洗礼，对于世界、历史发展、政治、经济、社会、自然界万事的看法，都有了巨大的改变。&lt;br /&gt;
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The impact and the changes in Chinese thought and culture caused by Western learning can be rivaled only by the Hundred Schools of Thought in the history of China. After the baptism of Western learning, tremendous changes have been made on Chinese people's views on the world, historical development, politics, economy, society, and the whole nature.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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4.清政府统治集团内的一些开明人士为了维护清政府的封建统治，而采取了一系列“自强”“求富”的措施，虽然其目的是为了维护封建统治，但这一运动是符合历史潮流的。&lt;br /&gt;
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Some enlightened people in the Qing government adopted a series of measures for &amp;quot;self-improvement&amp;quot; and &amp;quot;seeking wealth&amp;quot; in order to maintain the feudal rule of the Qing government. Although they were aimed to maintain the feudal government, this movement was in line with the historical trend.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
1. 张骞出使西域，既是一次极为艰险的外交旅行，同时也是一次卓有成效的科学考察。张骞对广阔的西域进行了实地的调查研究工作。&lt;br /&gt;
Zhang Qian's mission to the western regions was not only an extremely difficult diplomatic trip, but also an effective scientific investigation. Zhang Qian made a field investigation on the vast western regions.&lt;br /&gt;
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Zhang Qian's mission to the Western Regions was not only an extremely difficult and dangerous diplomatic trip, but also a fruitful scientific investigation. Zhang Qian conducted field investigation and research work on the vast Western Regions.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2. 十五世纪初期，郑和下西洋作为军事史上一项意义重大的事件，当前学术界从郑和下西洋的政治、经济及文化等角度对该事件的作用及影响进行了分析，鲜少从历史意义层面进行研究。郑和七次下西洋所到达的地区、实施的措施在人类航行史上占据至关重要的地位，了解郑和下西洋的历史意义非常必要。&lt;br /&gt;
At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academic circles have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.&lt;br /&gt;
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At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academia have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:49, 26 December 2020 (UTC)&lt;br /&gt;
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3. 明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。&lt;br /&gt;
During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period.&lt;br /&gt;
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During the Wanli period of Ming Dynasty, western missionaries represented by Matteo Ricci came to China to preach and bring western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, western science and technology began to develop rapidly, while The development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4. 随着经济全球化的发展，国与国之间的界限已经减少了。中国不断引进西方的文化，外国也不断引进中国的文化。在这个过程中，中国从最原始的封建社会，也逐步走向西化。&lt;br /&gt;
With the development of economic globalization, the boundaries between countries have been reduced. China is constantly introducing western culture, and foreign countries are also constantly introducing Chinese culture. In this process, China gradually moved from the most primitive feudal society to Westernization.&lt;br /&gt;
--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:38, 26 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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With the development of economic globalization, the boundaries between countries have been reduced. China continues to introduce Western culture, and foreign countries continue to introduce Chinese culture. In this process, China has gradually moved from the most primitive feudal society to Westernization.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳。它的最初作用是运输中国古代出产的丝绸。&lt;br /&gt;
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1.The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries. The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk from ancient China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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2.The &amp;quot;maritime Silk Road&amp;quot; is a maritime channel for communication, trade and cultural exchanges between ancient China and foreign countries. The road is mainly centered on the South China Sea, so it is also called the South China Sea Silk Road. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.&lt;br /&gt;
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3.除了传教士之外，许多来华的官员、探险家等也成为传入西学的重要媒介，例如将领戈登对于中国洋务时期军事的影响。主持海关总税务司的赫德对于西方管理制度的引入，以及译介书籍、最早西方军乐队的引入都有影响。&lt;br /&gt;
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3.Besides missionaries, many officials and explorers who came to China also became important media for the introduction of Western learning, such as general Gordon's influence on China's military during the Westernization period. Hurd, who presided over the General Revenue Department of customs, had an influence on the introduction of Western management system, the translation of books and the introduction of the earliest Western military band.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4.洋务运动内容涉及军事、政治、经济、外交等，以“自强”为名，兴办军事工业并围绕军事工业开办其他企业，建立新式武器装备的陆海军。洋务派经营的这些近代企业，是在不改变封建统治为前提下所办企业，具有很强的对外依赖性、封建性和一定程度的垄断性。&lt;br /&gt;
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4.The Westernization Movement involved military affairs, politics, economy, diplomacy and so on. In the name of &amp;quot;self-improvement&amp;quot;, the Westernization Movement set up military industry and other enterprises around the military industry to establish the army and Navy with new weapons and equipment. These modern enterprises managed by the Westernization clique were established on the premise of not changing the feudal rule, and had strong external dependence, feudalism and a certain degree of monopoly.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
1.2100多年前，中国汉代的张骞两次出使中亚，开启了中国同中亚各国友好交往的大门，开辟出一条横贯东西、连接欧亚的丝绸之路。千百年来，在这条古老的丝绸之路上，各国人民共同谱写出千古传诵的友好篇章。&lt;br /&gt;
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The Silk Road first emerged more than 2,100 years ago during the Han Dynasty (206 BC-AD 24) after China's imperial envoy Zhang Qian twice visited Central Asia. It became a bridge between East and West, opening the door to friendly engagement between China and Central Asia. For two millennia, countless tales of everlasting friendship between peoples have been woven into this ancient network.&lt;br /&gt;
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2.中国走的是一条和平发展之路。作为拥有五千年文明积淀的东方大国，中国人历来崇尚以和为贵，从来就没有对外扩张的基因。600多年前，郑和率领当时世界上最强大的船队七次远航太平洋和西印度洋，到访30多个国家和地区，没有侵占一寸土地。这对于当年热衷于殖民扩张的西方国家来说，简直是不可思议，但中国确实做到了。&lt;br /&gt;
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China follows a path of peaceful development. China is a big country in the East with a five-thousand-year civilization. The Chinese believe in peace. There’s not a single bone of making external expansionism in the body of the Chinese. As early as over six hundred years ago, the Chinese navigator Zheng He led the biggest fleet in the world to the Pacific and west Indian Oceans on seven expeditions, visiting over thirty countries and regions, not taking a single inch of land. That was actually quite inconceivable for those Western powers who were busy making colonial expansion, but the Chinese did that. &lt;br /&gt;
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3.在19世纪的西学东渐中，基督新教的教士也开始进入中国，天主教士也随口岸的开放来往各地，他们成立教会学校、医院，并开设印书馆、设立期刊、并译著大量各种书籍。对于西学的传入有很大贡献。&lt;br /&gt;
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In the 19th century, Protestant priests also began to enter China, and Catholics also came with the opening of the ports. They established schools and hospitals, printed books, set up periodicals, and translated a large number of books. They contributed greatly to the Eastward Spread of Western learning。&lt;br /&gt;
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4.在新航路的开辟，文艺复兴，宗教改革运动，资产阶级革命，产业革命的推动下，至洋务运动发生时，资本主义世界体系已初步完成，人类进入了一个新时期，这也是历史发展的必然。&lt;br /&gt;
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Driven by the opening of new routes, the Renaissance, the Reformation, the bourgeois revolution, the industrial revolution, and by the time of the foreign affairs movement, the capitalist world system had been initially completed and mankind had entered a new period, which was a natural development of history.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:04, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
1.张骞第一次虽然没有完成出使目的，但是对西域诸国的山川地理、风土民情等重要信息，有了非常细致全面的掌握。&lt;br /&gt;
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Although Zhang Qian did not reach the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of the western countries.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)&lt;br /&gt;
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Although Zhang Qian did not arrive at the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of many western countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举。郑和本人也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。&lt;br /&gt;
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Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He, showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and honor of the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:06, 25 December 2020 (UTC)&lt;br /&gt;
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Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event who has won the respect and honor of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。&lt;br /&gt;
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After the War of 1894, as China was reduced to separation, many people of insight began to learn from the West more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)&lt;br /&gt;
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After the War of 1894, as China was reduced to separation, many people of insight began to learn from the Western countries more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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4.戊戌变法是一次具有爱国救亡意义的变法维新运动，是中国近代史上一次重要的政治改革，也是一次思想启蒙运动。&lt;br /&gt;
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The Hundred Days' Reform is a movement with the significance of patriotic salvation, an important political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)&lt;br /&gt;
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The Hundred Days' Reform is a movement with the significance of patriotic salvation, a significant political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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1.丝绸之路是古代中国联系中亚、西亚、非洲和欧洲的交通要道。19世纪，德国一个地理学家首次使用“丝绸之路”这一术语，一直沿用到今天。期初，它指从中国新疆到中亚的陆地通道。&lt;br /&gt;
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The Silk Road was a general name for the ancient strategic transportation channel which started from China and passed through Central Asia, West Asia, Africa and Europe. In the 19th century, when the name of Silk Road was first used by a German geographer, it just included the land road from China’s Xinjiang to Central Asia.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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2.海上丝绸之路在时间和空间上经过了长期的发展，在东方各国共同的经营下，形成了东方历史上一道独特而壮丽的风景，至今仍然承载着东方文明的传统。&lt;br /&gt;
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The Maritime Silk Road has gone through long-term development in time and space. Under the joint management of eastern countries, it has formed a unique and magnificent scenery in the history of the East and still carries the tradition of eastern civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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3.中华文明是古代六大原生文明之一，由于所处的独特地理位置，中华文明的发展一直具有极强的独立性，较少受到其他文明的影响。但随着历史向前发展，中国与世界的联系也更为密切，直到明末清初“西学东渐”，中国人才第一次系统地接触到西方文明。&lt;br /&gt;
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The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history progressed, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history moving forward, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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4.洋务运动创办了近代中国由国人自办的最早一批军用和民用近代企业，揭开了中国资本主义生产方式的序幕。&lt;br /&gt;
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The Westernization Movement established the first modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The Westernization Movement established the first bunch of modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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1. 丝绸之路经济带，是在古丝绸之路概念基础上形成的一个新的经济发展区域。包括西北五省区陕西、甘肃、青海、宁夏、新疆。&lt;br /&gt;
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1. Silk Road Economic Belt is a new economic development region formed on the basis of the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. &lt;br /&gt;
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The Silk Road Economic Belt is a new economic development region based  on the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:03, 24 December 2020 (UTC)&lt;br /&gt;
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The Silk Road Economic Belt is a new economic development region based on the ancient one. It covers the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:08, 25 December 2020 (UTC)&lt;br /&gt;
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2. 海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。&lt;br /&gt;
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2. Maritime Silk Road is a maritime route of trade and cultural exchanges between ancient China and foreign countries, also known as “Maritime Ceramic Road” and “Maritime Spice Road”, first mentioned by the French orientalist Chavan in 1913.&lt;br /&gt;
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The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the &amp;quot;Sea Ceramic Road&amp;quot; and &amp;quot;Sea Spice Road&amp;quot;. It was first mentioned in 1913 by the French orientalist Shawan.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)&lt;br /&gt;
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3. 西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。&lt;br /&gt;
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3. The Eastward Spread of Western Learning is a historical process of spreading Western academic thought to China from the late Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things into China from ancient times to contemporary times, but usually refers to the introduction of academic thought from Europe and the United States in the late Ming and early Qing dynasties.&lt;br /&gt;
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Western learning refers to the historical process of the dissemination of Western academic thought to China from the end of the Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things from ancient times to the present time into China, it usually refers to the end. During the early Qing Dynasty and the late Qing Dynasty and the early Republican period, academic ideas were introduced into Europe and the United States.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)&lt;br /&gt;
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4. 鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。这些卓识远见表明近代向西方学习的思潮的始初就和爱国精神交融在一起。&lt;br /&gt;
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4. After the Opium War, their basic idea was to understand the situation of the barbarians and “learn from them in order to control them”. These insights show that the modern trend of learning from the West was intertwined with the spirit of patriotism from the very beginning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:34, 24 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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1.明代中期以后，政府采取了闭关锁国的政策，与此同时，造船技术和航海技术不断发展，海上交通代之而起，使丝绸之路贸易全面走向衰落。&lt;br /&gt;
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After the mid-Ming Dynasty, the government adopted a policy of shutting down the country. At the same time, shipbuilding technology and navigation technology continued to develop, and maritime traffic took its place, causing the Silk Road trade to decline in an all-round way.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)&lt;br /&gt;
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After the middle of Ming Dynasty, the government adopted the policy of self-seclusion. At the same time, the shipbuilding technology and navigation technology developed continuously, and the maritime transportation replaced it, which made the Silk Road trade decline in an all-round way.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)&lt;br /&gt;
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2.郑和，这位航海史上的先驱，以智慧为舵，扬起和平的风帆，缔造了世界航海业发展的里程碑，厚植了“一带一路”的文化底色与民心基石，书写了中国同其他国家友好交往的千古佳话。&lt;br /&gt;
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Zheng He, a pioneer in the history of navigation, took wisdom as the rudder and raised the sail of peace. He created a milestone in the development of the world’s navigation industry. An eternal story of friendly exchanges between countries.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)&lt;br /&gt;
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3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。&lt;br /&gt;
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Matteo Ricci spread Western geometry, geography knowledge, and humanistic views to Chinese society, and developed the ethos of scholar-officials in the late Ming Dynasty to learn Western studies.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)&lt;br /&gt;
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Matteo Ricci spread the Western knowledge of geometry, geography and humanism to the Chinese society, which opened the atmosphere for the literati to learn western learning in the late Ming Dynasty.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
1、丝绸之路经过亚洲、中东、北非和欧洲。几个世纪以来，丝绸之路是东西方交流的最重要的线路。尽管名字叫丝绸之路，人们进行贸易的商品却不仅仅是丝绸。玄奘和马可·波罗都留下了他们丝绸之路之旅的详尽记录。&lt;br /&gt;
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The Silk Road went through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road was the most important line of communication connecting East and West. Although it's called the Silk Road, people traded much more than silk. Both Xuan Zang and Marco Polo left detailed records of their journeys along the Silk Road.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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The Silk Road passes through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road has been the most important route for exchanges between East and West. Although it is called the Silk Road, the goods people trade are not just silk. Both Xuanzang and Marco Polo kept detailed records of their Silk Road journey. --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)&lt;br /&gt;
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2、郑和（1317-1435）是中国最有名的探险家之一。1405至1433年间，郑和完成了七次著名的航行。他游览了亚洲和非洲的许多国家。郑和还从他游览的国家带回来很多礼物，像药品，珍珠和珍禽异兽。&lt;br /&gt;
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Zheng He (1371-1435) was one of China's most famous explorers. Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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As one of China's most famous explorers,Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:11, 27 December 2020 (UTC)&lt;br /&gt;
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3、在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。 &lt;br /&gt;
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The rising modern press deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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The modern newspapers and periodicals that emerged in the tide of western learning changed the traditional aesthetic mechanism, and caused a fundamental change in aesthetics from content to form, thus contributing to the modern transformation of Chinese aesthetics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)&lt;br /&gt;
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4、洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。 &lt;br /&gt;
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Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China. The Taiping movement accelerated the progress of China's modern history and promoted the Westernization movement. The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enlightenment in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
1公元前2世纪，中国就开始开辟通往西域的丝绸之路。汉代使节(envoy)张骞于公元前138年和 119年两次出使西域。&lt;br /&gt;
In the 2nd century BC, China began working on the Silk Road leading to the Western Regions. In138 BC and 119 BC, envoy Zhang Qian of the Han Dynasty made a trip to these regions respectively. &lt;br /&gt;
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2，西汉时期,中国的商船队就到达了印度和斯里兰卡(Sri Lanka),用中国的丝绸 换取了琉璃(colored glaze)、珍珠等物品。&lt;br /&gt;
In the Western Han Dynasty, China's merchant fleets sailed to as far as India and Sri Lanka to trade China's silk for colored glazes, pearls and other products.&lt;br /&gt;
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3，唐代是中国历史上对外交流的活跃期。据史料记载，与唐代通使交好的国家多达70多个,那时候的首都长安云集了来自各国的使臣、商人和留学生。这种大交流使中华文化远播世界,也促进了各国文化和物产传入中国。&lt;br /&gt;
 The Tang Dynasty saw dynamic interactions between China and other countries. According to historical documents, th Tang Dynasty exchanged envoys with over 70 countries, and Chang' an, the capital of Tang, bustled with envoys, merchants and students from other countries. 'Exchanges of this magnitude helped the spread of the Chinese culture to the rest of the world and the introduction of the culture and products from other countries into China.&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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1.张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过&amp;quot;丝绸之路&amp;quot;迅速向四周传播。&lt;br /&gt;
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Zhang Qian's mission to the Western regions was to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and The Barbarians, and the civilization of the Central Plains rapidly spread around through the &amp;quot;Silk Road&amp;quot;.&lt;br /&gt;
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2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。&lt;br /&gt;
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Since its opening in the Qin and Han Dynasties, the Maritime Silk Road has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.&lt;br /&gt;
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3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。&lt;br /&gt;
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The influence and change of Chinese ideology and culture brought by the eastward dissemination of Western learning can only be matched by the contention of a hundred schools of thought in Chinese history.&lt;br /&gt;
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4.洋务运动推动了近代中国生产力的发展，促使了中国民族资本主义的产生。&lt;br /&gt;
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Westernization movement advanced the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:47, 26 December 2020 (UTC)&lt;br /&gt;
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1.Zhang Qian's mission to the Western regions was originally to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and the Barbarians, and the civilization of the Central Plains rapidly spread around through the &amp;quot;Silk Road&amp;quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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2.Since the opening of the Maritime Silk Road in Qin and Han Dynasties, it has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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3.In Chinese history, only contention of a hundred schools of thought can match the great influence and change of Chinese ideology and culture caused by the the eastward spreading of western learning.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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4.The Westernization Movement promoted the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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1.&amp;quot;海上丝绸之路&amp;quot;是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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The &amp;quot;South China Sea Silk Road&amp;quot; is also known as the Maritime Cultural Communication Center of China. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋是中国古代规模最大、船只最多（240多艘）、海员最多、时间最久的海上航行，比欧洲国家航海时间早几十年，是明朝强盛的直接体现。&lt;br /&gt;
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Zheng He's voyages to the West were the largest, the largest number of ships (more than 240), the largest number of seafarers and the longest voyages in ancient China. They were decades earlier than those of European countries. They were the direct manifestation of the prosperity of the Ming Dynasty.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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3.明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。&lt;br /&gt;
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During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period. Missionaries not only spread Christian doctrine, but also introduced a lot of science and technology.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动的最根本的指导思想是&amp;quot;自强&amp;quot;、&amp;quot;求富&amp;quot;。 其分类思想就是&amp;quot;师夷制夷&amp;quot; 、&amp;quot;中体西用&amp;quot; 八个字。前四个字&amp;quot;师夷制夷&amp;quot; 表明洋务运动与外国资本主义侵略者的关系，即学习西方的长技用以抵制西方的侵略。&lt;br /&gt;
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The most fundamental guiding ideology of Westernization Movement is &amp;quot;self strengthening&amp;quot; and &amp;quot;seeking wealth&amp;quot;. Its classification thought is &amp;quot;learning from foreigners, controlling foreigners&amp;quot; and &amp;quot;Chinese style and western use&amp;quot;. The first four words &amp;quot;learning from foreigners and controlling foreigners&amp;quot; indicate the relationship between the Westernization Movement and foreign capitalist invaders, that is, learning from Western long-term skills to resist Western aggression.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。&lt;br /&gt;
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The smooth and prosperous development of the Silk Road in the Tang Dynasty also further accelerated the ideological and cultural exchanges between the East and the West, causing a lot of positive and far-reaching influences on the development of mutual social and national ideologies in the future.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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宋代海上丝绸之路的持续发展，大大增加了朝廷和港市的财政深收入，一定程度上促进了经济发展和城市化生活，也为中外文化交流提供了便利条件。&lt;br /&gt;
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The continuous development of the Maritime Silk Road in the Song Dynasty greatly increased the deep financial income of the imperial court and the port city, promoted the economic development and urban life to a certain extent, and also provided convenient conditions for the cultural exchanges between China and foreign countries.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展，&lt;br /&gt;
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The eastward spread of Western learning brought various new academic achievements of modern Western learning into China, which deeply influenced the development of various academic disciplines. Under such an influence, many disciplines that were not valued or even did not exist in traditional China also developed.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。&lt;br /&gt;
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The total annihilation of the Beiyang Navy in the Sino-Japanese War marked the complete loss of naval power in the Qing Dynasty and the bankruptcy of the 35-year-old Westernization Movement.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
1.公元前123年，张骞随大将军卫青出使匈奴，在他的引导下，平息了多年来北方匈奴对汉王朝的骚扰，张骞因此被封为博望侯。&lt;br /&gt;
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In 123 B. C. , Zhang Qian followed General Wei Qing in a major military raid against the Xiongnu. His guidance led to a number of victories, which succeeded in ending the harassment by the Xiongnu of the Han Dynasty. Zhang Qian was therefore conferred the title of Marquis of Bowang.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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In 123 B.C., Zhang Qian accompanied the great general Wei Qing on a mission to the Xiongnu. Under his guidance, the Xiongnu harassment of the Han dynasty in the north for many years was quelled, and Zhang Qian was thus made the Marquis of Bowang.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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2.郑和的船队由三百艘大船及三万多名水兵组成，船队中最大的一艘船被称为“宝船”，其船身长达133米，船桅多达九根，可搭载一千人。郑和和汉人与穆斯林船员一起打开了中国在非洲、印度及东南亚的贸易航线。&lt;br /&gt;
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Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels, 133-meter-long “treasure ships”, had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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Zheng He's fleet consisted of 300 ships and more than 30,000 sailors, the largest ship in the fleet was called the &amp;quot;treasure ship&amp;quot;, with a hull length of 133 meters and as many as nine masts, which could carry 1,000 people. Zheng He and the Chinese and Muslim crews together opened up Chinese trade routes in Africa, India and Southeast Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels(also called “treasure ships”),133-meter-long ,had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:26, 25 December 2020 (UTC)&lt;br /&gt;
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3.清末时，在“西学东渐”浪潮的冲击下，传统儿童教育踏入近代的门槛。&lt;br /&gt;
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In late Qing dynasty, impacted by the wave of “ The Eastward Spread of Western Learning”, traditional children education stepped into the threshold of modern education. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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At the end of the Qing Dynasty, under the impact of the wave of &amp;quot;Western learning&amp;quot;, traditional children's education entered the threshold of modern times.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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4.西进运动促进了农业、工业、交通业的飞速发展，也促进了美国城市化的进程。&lt;br /&gt;
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The Westernization Movement promoted the rapid devepment of agrilucture, industry, transportation and the urbanization process of the United States as well. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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The westward movement contributed to the rapid development of agriculture, industry, and transportation, as well as to the urbanization of the United States.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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丝绸之路是汉唐千余年间中外经济、文化交流的重要通道，为汉朝的强大，乃至整个中华民族的强大奠定了坚实的基础。&lt;br /&gt;
Silk Road, a significant path of economic and cultural exchanges between China and foreign countries  during the Han and Tang Dynasty, which lasted for over thousand years, laying a solid foundation for greatness of the Han Dynasty, and even that of the whole Chinese nation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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回望历史，浩浩荡荡，郑和七下西洋堪称中国“海上丝绸之路”最壮丽的诗篇，也是人类航海史第一个高峰。&lt;br /&gt;
Looking back at the history, Zheng He’s seven voyages to the wast was the most magnificent poem of China’s “Maritime Silk Road”, as well as the first peak in the history of human navigation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。&lt;br /&gt;
After the Opium War, their basic idea was to understand the situation of foreigners and &amp;quot;learn from the advanced technologies in the West in order to resist the invasion of the Western powers.”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
Westernization Movement, also known as self-improvement movement, was a self-saving movement that westernization school in the late Qing Dynasty introduced western military equipments, machine production, science and technology to save the rule of Qing Dynasty from 1860s to 1990s.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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1. 丝绸之路全长约7000公里，经由这条线路所进行的贸易中，中国的丝绸最具代表性，因此得名“丝绸之路”。&lt;br /&gt;
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The total length of the silk road is about 7000 km. Among the trade carried out along this route, China's silk is the most representative, so it is named the &amp;quot;Silk Road&amp;quot;. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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2. 在中国，作为国家的政治任务，郑和下西洋对于中国的经济的刺激作用微乎其微。而在西方，东方的商品和航海贸易的利润直接加速了资本主义的原始积累。&lt;br /&gt;
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In China, as a national political task, Zheng He's Voyages had little stimulating effect on China's economy. However, in the west, the profits from the eastern commodity and maritime trade directly accelerated the primitive accumulation of capitalism. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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3. 甲午战争以后，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。&lt;br /&gt;
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After the Sino-Japanese War of 1894-1895,  many people with breadth of vision began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared. They learned a lot from the West about natural science and social science, and demanded political reform. During this period, a large amount of Western knowledge was introduced into China, and its influence was very extensive. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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4. 洋务运动前期，洋务派以“自强”为旗号，采用西方先进生产技术，创办了一批近代军事工业。&lt;br /&gt;
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In the early stage of Westernization Movement, the School of Westernization established a number of modern military industries under the banner of &amp;quot;self-improvement&amp;quot; and adopting advanced western production technology. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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In the early stage of Westernization Movement, under the banner of &amp;quot;self-improvement&amp;quot;,the School of Westernization adopted advanced western production technology and established a number of modern military industries.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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1. 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。&lt;br /&gt;
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The overland Silk Road originated in the Western Han Dynasty (202-8 years ago). Emperor Wu of the Han Dynasty sent Zhang Qian to the Western Regions to open up an overland route starting from the capital Chang'an (now Xi'an), passing through Gansu and Xinjiang, to Central and West Asia, and connecting Mediterranean countries. &lt;br /&gt;
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2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险&lt;br /&gt;
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Zheng He's voyage to the West was the largest sea voyage in ancient China with the largest number of ships and sailors and the longest time. It was also the largest series of sea explorations in world history before the voyage of the great geographical discovery in Europe at the end of the 15th century.&lt;br /&gt;
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3. 尽管如此，纵观中国近代西学东渐的历史,它的成就是巨大的。虽然经历了由表及里、由浅入深的艰难探索和吸收过程,但毕竟使中国的近代化历程大大加速,客观上加快了清王朝灭亡的脚步,为中国早日推翻一个旧世界,建立一个新世界奠定了基础。但墨守成规、亦步亦趋的学习心理使中国的每一步学习都事倍功半,成效大打折扣.学习中的'一边倒'现象和盲目照搬现象使中国的西学东渐走了许多弯路,学习中的'急功近利'思想也是造成西学东渐成效甚微的重要原因。&lt;br /&gt;
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In spite of this, looking at the history of the spread of western learning to the east in modern China, its achievements are huge. Although it has gone through a difficult process of exploration and absorption from the outside to the inside and from the shallow to the deep, it has greatly accelerated China's modernization process, objectively accelerated the pace of the demise of the Qing Dynasty, and laid a foundation for China to overthrow an old world and establish a new world as soon as possible. However, the learning psychology of sticking to the rules and following the same trend makes every step of China's learning get twice the result with half the effort and the effect is greatly reduced. The phenomenon of &amp;quot;one-sided&amp;quot; and blind copying in learning have led to many detours in the spread of western learning to the east in China, and the thought of &amp;quot;eager for quick success and instant benefits&amp;quot; in learning is also an important reason for the little effect of the spread of western learning to the east.&lt;br /&gt;
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4. 洋务运动后期，洋务派为解决军事工业资金、燃料、运输等方面的困难，打出“求富”的旗号，兴办了一批民用工业。&lt;br /&gt;
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In the late period of the Westernization Movement, in order to solve the difficulties in capital, fuel and transportation of military industry, the Westernization Movement set up a number of civilian industries under the banner of &amp;quot;seeking wealth&amp;quot;.&lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 03:18, 28 December 2020 (UTC) Zhang Weihong&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
1.通过张骞的外交实践，构建了汉朝与西方国家友好交往的桥梁，促进了东西方文化、经济的交流和发展，为中国汉代昌盛和后世的对外开放奠定了坚实的基础。&lt;br /&gt;
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Through Zhang Qian's diplomatic practice, he built a bridge of friendly relations between the Han Dynasty and the West, promoting cultural and economic exchanges and development between the East and the West, and laying a solid foundation for the prosperity of the Han Dynasty and the opening up of China to the outside world in later generations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋折射出的中国先进航海科技光辉，表现了中国古代人的伟大智慧，从而创造了郑和下西洋的伟大航程。&lt;br /&gt;
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Zheng He's voyage to the West reflected the glory of China's advanced navigation technology and demonstrated the great wisdom of ancient Chinese people, thus creating the great voyage of Zheng He to the West.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
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The Eastward Spread of Western learning refers to the historical process of the spread of Western academic thoughts to China from the end of the Ming Dynasty to modern times.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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4.甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。&lt;br /&gt;
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In the Sino-Japanese War of the First Sino-Japanese War, the Beiyang Navy was wiped out, marking the complete loss of the Qing Dynasty's naval power and the bankruptcy of the 35-year Westernization Movement.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
1.东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。&lt;br /&gt;
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The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk produced in ancient China.&lt;br /&gt;
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2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和“海上香料之路”&lt;br /&gt;
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The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the &amp;quot;Maritime Ceramic Road&amp;quot; and the &amp;quot;Sea Spice Road&amp;quot;.&lt;br /&gt;
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3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
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The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times.&lt;br /&gt;
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4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
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The Westernization Movement, also known as the self-improvement movement. It was a self-rescue movement carried out by the Westernization School in the late Qing Dynasty from the 1860s to the 1990s to bring in Western military equipment, machine production, and science and technology to save the Qing Dynasty.&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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1. 张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过“丝绸之路”迅速向四周传播。&lt;br /&gt;
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Zhang Wei out of the Western Region to carry out the Han Wu Emperor United Moon's strategic intention to fight against the Hunnu, but out of the Western Region after the Hanyi cultural exchanges frequent, the Central Plains civilization through the &amp;quot;Silk Road&amp;quot; spread rapidly around.&lt;br /&gt;
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2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。&lt;br /&gt;
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Zheng He's Voyage to the West Was the largest, largest and longest maritime voyage in ancient China, and the largest series of maritime expeditions in the history of the world before the great geographical discovery of Europe at the end of the 15th century.&lt;br /&gt;
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3. 在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们（较晚亦有方济各会、多明我会等的教士），在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。&lt;br /&gt;
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Missionaries played a very important role in a wave of Western studies in the late Ming and early Qing years, when the missionaries, mainly Catholic Jesuits (later franciscans, polyseigns, etc.), introduced Western scientific and technological academic ideas and translated a large number of Western academic books while trying to introduce Catholicism to China.&lt;br /&gt;
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4. 甲午战争的结果给中华民族带来空前严重的民族危机，大大加深了中国社会半殖民地化的程度；另一方面则使日本国力更为强大，为其跻身列强奠定了重要基础。&lt;br /&gt;
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The result of the Sino-Japanese War brought unprecedented serious national crisis to the Chinese nation, which greatly deepened the degree of semi-colonization of Chinese society, and on the other hand, made Japan stronger and laid an important foundation for its ranks among the great power.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:22, 26 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
1.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线。&lt;br /&gt;
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Silk Road refers to the ancient land trade route which started in the ancient China and connected Asia, Africa and Europe.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)&lt;br /&gt;
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Silk Road refers to the ancient land trade route which originated from ancient China and connected Asia, Africa and Europe.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
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2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。&lt;br /&gt;
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Maritime Silk Road is the sea-lane by through which ancient China traded and did cultural exchanges with other countries. This Silk Road is mainly centered with the South China Sea, thus is called the South China Sea Silk Road as well. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)&lt;br /&gt;
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Maritime Silk Road is the sea route through which ancient China traded and did cultural exchanges with foreign countries. This Silk Road centered on the South China Sea, thus being called the South China Sea Silk Road as well.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
&lt;br /&gt;
Eastward Spread of Western Learning refers to the historic process of the spread of western academic thought to China from the end of Ming Dynasty and the modern times.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC) &lt;br /&gt;
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Eastward Spread of Western Learning refers to the historic course of the spread of western academic thought to China from the end of Ming Dynasty to the modern times.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
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Westernization Movement, also known as Self-strengthening Movement, is a self-helping movement carried out by the late Qing dynasty in the 1860s and 1990s to introduce Western military equipment, machine production and science and technology to save the Qing dynasty.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)&lt;br /&gt;
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Westernization Movement, also known as Self-strengthening Movement, was a self-helping movement carried out by the westernization group of the late Qing dynasty from the 1860s to 1990s for introducing Western military equipment, machine production and science and technology to China to save the Qing government.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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1.张骞到大宛后，向大宛国王说明了自己出使月氏的使命和沿途种种遭遇，希望大宛能派人相送，并表示今后如能返回汉朝，一定奏明汉皇，送他很多财物，重重酬谢。大宛王本来早就风闻东方汉朝的富庶，很想与汉朝通使往来，但苦于匈奴的中梗阻碍，未能实现。汉使的意外到来，使他非常高兴。&lt;br /&gt;
&lt;br /&gt;
After arriving in Dayuan, Zhang Qian explained to the king of Dawan his mission and experiences along the way, and hoped that Dawan could send men to escort him to the  Darouzhi. He also said that if he could return to the Han Dynasty in the future, he would tell the emperor of Han and implore him to send a lot of wealth and rewards to the The the king of Dawan. The King of Dawan had long heard of the wealth of the Han Dynasty and wanted to communicate with Han, but he failed to do so because of the hindrance from the Xiongnu. The unexpected arrival of han Emissary made him very happy.&lt;br /&gt;
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2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。&lt;br /&gt;
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Zheng He's expeditions were the largest in ancient China, with the largest number of ships and sailors and the longest time. They were also the largest series of maritime expeditions in the history of the world before the voyages of European geographical discoveries at the end of the 15th century.&lt;br /&gt;
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3.此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。&lt;br /&gt;
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At this time, western science and technology began to develop rapidly, while the development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time. Missionaries spread the Christian doctrine, but also spread a lot of science and technology.&lt;br /&gt;
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4.为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。&lt;br /&gt;
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In order to relieve domestic troubles and foreign invasion, enrich the country and strengthen the army to maintain the rule of Qing dynasty, some people began to learn Western culture and advanced technology, so they were called westernization Group.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。&lt;br /&gt;
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1.Zhang Qian made two missions to the Western Regions, opening up land transportation between China and Central Asia, West Asia, South Asia, and even to Europe. From then on, the Chinese used this channel to sell silk, tea, lacquerware and other products to the Western Regions and Central Asia. At the same time introduce gems, glassware and other products from Europe, West Asia and Central Asia.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。&lt;br /&gt;
&lt;br /&gt;
2.Zheng He's voyage to the West was the largest sea voyage in ancient China, the largest number of ships and seafarers, and the longest time. It was also the largest series of sea expeditions in the history of the world before the voyage of the great geographical discovery in Europe at the end of the 15th century.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。其虽然亦可以泛指自上古以来一直到当代的各种西方事物传入中国，但通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。&lt;br /&gt;
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3.The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times. Although it can also generally refer to the introduction of various Western things into China from ancient times to the present, it usually refers to the academic thoughts in Europe and the United States during the two periods of the late Ming and early Qing and the late Qing and the early Republic. Incoming.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动的内容之一是创办新式学校，选送留学生出国深造，培养翻译人才、军事人才和科技人才。1862年在北京设立的京师同文馆，就是中国最早的官办新式学校。&lt;br /&gt;
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One of the contents of the Westernization Movement was to establish new schools, select and send overseas students to study abroad, and train translators, military talents and scientific and technological talents. The Jingshi Tongwenguan, established in Beijing in 1862, was the earliest government-run new school in China.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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不仅是中国与这些国家进行交流，通过丝路，印度、东南亚、中东、非洲和欧洲之间的贸易交流也迅速活跃起来。&lt;br /&gt;
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The Silk Road not only deepen exchanges between China and these countries, but also gave an impetus to trades between India, Southeast Asia, the Middle East, Africa and Europe.&lt;br /&gt;
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郑和下西洋的路线，被称为海上丝绸之路，那是一条向往陌生的海岸线的开放之路。 &lt;br /&gt;
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The sailing routes of Zheng He, also known as the Maritime Silk Road, was an open road symbolizing people's aspiration to unfamiliar coastlines.&lt;br /&gt;
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明末清初,西方传教士来华传教,掀起了西学东渐的第一次高潮。&lt;br /&gt;
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In the late Ming and early Qing dynasty, lots of western missionaries came to China , which brought the first upsurge of the Eastward spread of Western learning.&lt;br /&gt;
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洋务运动的主要人物具有典型性和代表性的是张之洞和李鸿章。&lt;br /&gt;
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The main figures of the Westernization Movement are Zhang Zhidong and Li Hongzhang.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:06, 28 December 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
1.唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。&lt;br /&gt;
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The prosperous Silk Road in the Tang dynasty also further promoted the exchange of thoughts and cultures between the east and the west, and had a lot of positive and far-reaching effects on the later development of both side’s social and national ideologies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC) &lt;br /&gt;
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2.欧洲人相继进行全球性海上扩张活动，特别是地理大发现，开启了大航海时代，开辟了世界性海洋贸易新时代。西欧商人的海上扩张，改变了传统海上丝绸之路以和平贸易为基调的特性，商业活动常常伴随着战争硝烟和武装抢劫。&lt;br /&gt;
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The European maritime expansion around the world, especially the discovery of the Age of Discovery, ushered in a new era of world trade in the oceans. The maritime expansion of western european merchants, often accompanied by war and armed robbery, changed the traditional sea route of Silk Road of peaceful trade.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展,但许多传统的学术受到西学的冲击。&lt;br /&gt;
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The Eastward Spread of Western Learning brought to China various new academic achievements in modern times, deeply affecting the development of various academic disciplines. Many subjects which were not valued or even did not exist in traditional China were also developed under this influence. On the contrary many traditional academies have been impacted by Western academies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动是近代教育的开端。要开始洋务运动，兴办洋务就必须要有精通洋务的人才，但是中国传统的科举制教育却远远无法满足洋务运动对人才的需要。因此兴办新式学堂，派遣留学生，就成了洋务运动进行下去的一项重要的举措。&lt;br /&gt;
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Westernization Movement was the beginning of modern education. In order to start the Westernization Movement, it is necessary to have people who are proficient in Westernization, but the traditional imperial examination system in China can not meet the needs of the Westernization Movement. Therefore, the establishment of new schools and the dispatch of foreign students has become an important initiative of the Westernization Movement.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
==Zubareva, Ekaterina==&lt;br /&gt;
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1.Today, Zhang Qian's travels are associated with the major route of transcontinental trade, the Silk Road. His missions opened trade routes between East and West and exposed different products and kingdoms to each other through trade.&lt;br /&gt;
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今天，张谦的旅行与跨大陆贸易的主要路线“丝绸之路”相关。 他的任务打开了东西方之间的贸易路线，并通过贸易使不同的产品和王国相互接触。 --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;br /&gt;
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2.Zheng He generally sought to attain his goals through diplomacy, and his large army awed most would-be enemies into submission. However, a contemporary reported that Zheng He &amp;quot;walked like a tiger&amp;quot; and did not shrink from violence when he considered it necessary to impress foreign peoples with China's military might.&lt;br /&gt;
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郑和通常试图通过外交来实现自己的目标，他的大部队敬畏大多数可能成为敌人的敌人。 然而，当代报道说，郑和“走得像老虎一样”，当他认为有必要用中国的军事力量打动外国人民时，并没有因为暴力而退缩。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;br /&gt;
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3.With the Jesuits coming to China to preach, the historical event of the introduction of Western science and technology into China was called the first wave of the introduction of Western learning to the East.&lt;br /&gt;
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随着耶稣会士来到中国讲道，西方科学技术传入中国的历史性事件被称为第一波西方知识向东方传入的浪潮。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;br /&gt;
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4.By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones into its division of labour.&lt;br /&gt;
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到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在将其他主要的新地区纳入其劳动分工中。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201221_cult&amp;diff=119492</id>
		<title>20201221 cult</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201221_cult&amp;diff=119492"/>
		<updated>2020-12-28T03:55:14Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
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&lt;div&gt;==Alsied, Saffana==&lt;br /&gt;
1. Their king was killed and his skull turned into a drinking vessel. As a result, the Rouzhi fled and bore a constant grudge against the Xiongnu. At this time, the Han became increasingly strong, and Emperor Wu was determined to defeat the Xiongnu.--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)&lt;br /&gt;
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他们的国王被杀，他的头骨变成了饮酒器。 结果，柔脂逃走了，对熊怒不断地怀恨在心。 这时，汉人变得越来越强大，吴皇帝决心打败匈奴。&lt;br /&gt;
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他们的国王被杀，他的头骨变成了饮酒器。 结果，大月氏逃走了，却仍然对匈奴怀恨在心。 这时，汉朝变得越来越强大，汉武帝决定攻打匈奴。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)&lt;br /&gt;
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2.They even carried on their ships many foreign heads of state and envoys to China. On the voyage of 1423 alone, they brought 1,200 envoys from 16 countries to China, some of whom even preferred not to go back. --[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)&lt;br /&gt;
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他们甚至还搭载了许多外国国家元首和特使前往中国。 仅在1423年的航行中，他们就将来自16个国家的1200名使节带到了中国，其中一些人甚至不愿回国。&lt;br /&gt;
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3.In the second half of the 16th century, foreign missionaries from the Society of Jesus came to China. They spread religious doctrines on the one hand and introduced on the other hand works on astronomy, mathematics, physics, geography, paintings, and music to China. Meanwhile, they brought to the West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchanges between China and the West. &lt;br /&gt;
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16世纪下半叶，耶稣会的外国传教士来到中国。 他们一方面传播宗教学说，另一方面向中国介绍天文学，数学，物理学，地理，绘画和音乐方面的著作。 同时，他们把西方的儒道思想带到了西方，为中西文化交流做出了贡献。&lt;br /&gt;
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16世纪下半叶，耶稣会的外国传教士来到中国。 他们一方面传播宗教学说，另一方面把天文学，数学，物理学，地理，绘画和音乐方面的著作引入中国。 同时，他们把中国的儒家和道家思想带到了西方，为中西文化交流做出了贡献。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)&lt;br /&gt;
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4.After the Second Opium War (1856-1860), Yi Xin (Prince Gong) and local officials realized that China had lagged far behind the West in weaponry and military technology, and advocated learning advanced production technology and troop training methods from the West so as to build a modern national defense. Known as the School of Westernization, these people launched a movement to learn from Western powers.&lt;br /&gt;
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第二次鸦片战争（1856-1860）之后，巩义王子和当地官员意识到中国在武器装备和军事技术方面远远落后于西方，并主张从西方学习先进的生产技术和部队训练方法，以便 建立现代国防。 这些人被称为洋务派，他们发起了向西方列强学习的运动。&lt;br /&gt;
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第二次鸦片战争（1856-1860）之后，奕䜣（恭亲王）和国内官员意识到中国在武器装备和军事技术方面远远落后于西方，因而他们主张从西方学习先进的生产技术和部队训练方法，旨在建立一支现代化的国防军队。 这些人被称为洋务派，他们发起了一场向西方列强学习的运动。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:40, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Cao Runxin 曹润鑫==&lt;br /&gt;
1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。&lt;br /&gt;
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The traditional Silk Road starts in Chang'an, the ancient capital of China, and reaches the Mediterranean Sea via the Central Asian countries, Afghanistan, Iran, Iraq and Syria, ending in Rome, a total length of 6,440 kilometres.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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The Maritime Silk Road was formed during the Qin and Han dynasties, developed during the Three Kingdoms to the Sui dynasty, flourished during the Tang and Song dynasties, and transformed during the Ming and Qing dynasties, making it the oldest known maritime route.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)&lt;br /&gt;
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3.此时的西学传入，主要以传教士和一些中国人对西方科学著作的翻译为主。&lt;br /&gt;
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The introduction of Western learning at this time was dominated by the translation of Western scientific works by missionaries and some Chinese.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)&lt;br /&gt;
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4.&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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1.汉政府在西域设置常驻官员，派士卒屯田，设校尉统领保护，使汉族同新疆少数民族交往更加密切。汉朝在西域设立西域都护府为标志，丝绸之路进入繁荣时代。&lt;br /&gt;
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The government of the Han Dynasty set up permanent officials in the Western Regions, dispatched soldiers to garrison the fields, and assigned a captain to lead the protection, so that the Han people had closer exchanges with ethnic minorities in Xinjiang. Marked by the establishment of Protectorate of the Western Regions by the Han Dynasty, the Silk Road entered the era of prosperity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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2.三国时代，魏、蜀、吴均有丝绸生产，而吴雄踞江东，汉末三国正处在海上丝绸之路从陆地转向海洋的承前启后与最终形成的关键时期。&lt;br /&gt;
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During the Three Kingdoms Period, the states of Wei, Shu and Wu all produced silk. And Wu stood firmly on the east bank of the Yangtze River. In the late Han Dynasty, the three states were at a crucial period when the Maritime Silk Road shifted from the land to the sea and eventually took shape. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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3.澳门由于在明嘉靖年间由朝廷让与葡萄牙人，因此在明末清初的西学东渐中，西方传教士常以澳门为中继站，而一些学术思想亦经由此逐渐传入中国内地，而许多与西人打交道的中国人亦在澳门及广州等地学习西方语言及文化。&lt;br /&gt;
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Since Macau was ceded to the Portuguese by the imperial court during the years of Jaijing in the Ming Dynasty, Western missionaries often regarded it as a transition for eastward spreading of Western learning during the late Ming and early Qing dynasties, and some academic ideas were gradually introduced to the Chinese mainland, while many Chinese who had dealings with Westerners also learned Western languages and cultures in Macau and Guangzhou. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务派后期创办的民用工业，投资大多采取官督商办和官商合办形式，产品主要作为商品投放市场，管理上采取劳动雇佣制，所以其本质上属于带有封建因素的资本主义性质的企业。&lt;br /&gt;
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The civil industry founded by Westernization Group in the late period of the Movement was funded mostly by taking the government-supervised and merchant-managed form and the government-merchant cooperation. Its products were mainly put on the market as commodities and its management adopted the labor-employment system, so that it belongs to capitalist enterprises in essence featuring feudalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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1.丝绸之路不仅是古代亚欧互通有无的商贸大道，还是促进亚欧各国和中国的友好往来，沟通东西方文化的友谊之路。&lt;br /&gt;
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The Silk Road is a commercial avenue for exchanges between Asia and Europe in ancient times as well as a road of frienndship that promotes friendly exchanges between Asian and European countries and China.&lt;br /&gt;
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The Silk Road is not only a commercial avenue for exchanges of needed goods between ancient Asia and Europe, but also a road of friendship that promotes friendly communications, and cultural exchanges between China and European countries.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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2.在群星璀璨的中华英杰中，郑和不但以先于西方人航海，胜于西方人的航海技术受到国际社会的关注，而且以其所代表的一种文化精神得到人们的关注。&lt;br /&gt;
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Among the distinguished Chinese heroes, Zheng He not only got the attention for his sailing sills which precended and surpassed Westerns, but also attracted people's attention with the cultural spirit he represented.&lt;br /&gt;
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Among the distinguished Chinese heroes, Zheng He received international concerns not only because of his navigation skills which surpassed the Westerners, but also for a cultural spirit he represented.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐意味着以西方之学术，灌输于中国，使中国日趋于文明富强之境。&lt;br /&gt;
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The eastwars spread of western learning means instilling in China with Weastern academics so as to make China more civilized and prosperous.&lt;br /&gt;
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The Eastward Spread of Western Learning means to instill western academics into China so as to make it more civilized and prosperous.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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4.处于传统国家和农业文明体系下的中国在面对经过资产阶级革命后的现代国家和工业文明的英国的挑战时显得不堪一击。&lt;br /&gt;
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Under the traditional agricultural civilization system, China was such vulnerable to the challenges from England, which was already a modern and highly industrilized country after the bourgeois revolution. --[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:15, 27 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
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Under the traditional agricultural system, China was too vulnerable to face challenges from the British, which was already a modern and highly industrialized country after the bourgeois revolution.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)&lt;br /&gt;
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==Dashkin, Gennadii==&lt;br /&gt;
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1.In 119 BC, Zhang Qian set off on his second journey to the Western Regions.&lt;br /&gt;
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公元前119年，张谦出发了他的第二次西域之旅--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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2.While Zheng's fleet showed off Chinese might and naval prowess, orthodox Chinese histories depict him as never engaging in gunboat diplomacy, rather developing friendships with foreign leaders. &lt;br /&gt;
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郑的舰队展示了中国的威力和海军实力，而正统的中国历史则将他描绘为从未从事炮舰外交，而是与外国领导人发展友谊。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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3.The eastward transmission of Western learning refers to the transmission of Western cultures in China in the mid-1800s.&lt;br /&gt;
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西方学习向东传播是指1800年代中期西方文化在中国的传播--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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4.China has always been a planned economy where the government played a big role in deciding how the country should be controlled. &lt;br /&gt;
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中国一直是计划经济国家，政府在决定如何控制国家方面发挥着重要作用。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。&lt;br /&gt;
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A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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A vast batch of historical relics, fascinating scenery and interesting local cultures along the Silk Road enable this long trip to be one of the world’s most exciting tourist attractions.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)&lt;br /&gt;
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2.作为一个具有野心的拥有回族血统的穆斯林太监、一个典型的游离于儒家学者精英体制之外的人，郑和在1405到1433年间七下西洋，其中六次都在永乐帝的支持下进行。&lt;br /&gt;
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An ambitious Muslim eunuch of Hui descent, a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433 with six of them under the auspices of Yongle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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As an ambitious Muslim eunuch of Hui descent and a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433, with six expeditions under the auspices of Yongle.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:26, 26 December 2020 (UTC)&lt;br /&gt;
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3.从19世纪下半叶到20世纪初,伴随着“西学东渐”的进程,西方妇女生活现状、人权思想及女权理论渐次传入中国,引起了中国思想界的关注。&lt;br /&gt;
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From the second half of 19th century to the beginning of 20th century, with the progress of the eastward spread of western learning, western women's living situations, thoughts of human rights and feminist theories were gradually introduced into China and attracted the attention of the Chinese ideological circle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。&lt;br /&gt;
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Under the direction of modern-thinking Han officials, western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to western models.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)&lt;br /&gt;
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Under the guidance of the Han scholars with modern thinking, people learned the science and language of the west opened special schools in some big cities. Armouries, factories and docks were also built with reference to Western models.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
1.张骞被誉为伟大的外交家、探险家，是“第一个睁开眼睛看世界的中国人”、“丝绸之路的开拓者”、“东方的哥伦布”。&lt;br /&gt;
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Zhang Qian, rated as a great diplomat and explorer, is &amp;quot;the first Chinese to open his eyes to see the world &amp;quot;,&amp;quot; the pioneer of the Silk Road&amp;quot; and &amp;quot;Columbus of the East &amp;quot;. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。&lt;br /&gt;
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Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
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The Eastward World Spread of Western Learning refers to the historical process of spreading western academic thought to China from the late Ming Dynasty to modern times. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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The Eastward World Spread of Western learning refers to the historical process from the late Ming Dynasty to modern times when western academic thoughts spread to China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:08, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
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Westernization Movement, also known as self-strengthening movement. It is a self-help movement that introduced western military equipment, machine production and science and technology to save the rule of Qing Dynasty from 1860s to 1990s by Westernization School. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
1、张骞出使西域这一历史事件具有特殊的历史意义。张骞对开辟从中国通往西域的丝绸之路有卓越贡献，至今举世称道。&lt;br /&gt;
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Zhang Qian’s westward travel is of historic and special significance in Chinese history. Zhang Qian made excellent contributions to the opening of the Silk Road from China to “The Western Regions”, which is even praised by today’s world.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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2、陆路是中西往来的最古老的通道，其主要工具是马和骆驼。但牲畜负载有限，费用巨大。此外沿途自然条件艰险，安全没有保障。所以当航海技术发展起来以后，海路在中西交通中所起的作用越来越重要。&lt;br /&gt;
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Land route is the oldest access between China and“The Western Regions” and the major transportation tools were horses and camels. However, the load of those livestock was limited and cost much. Besides, the natural environment along the land route was hard and dangerous, making travelers lost security assurance.Therefore, with the development of seamanship, sea route began to play an increasingly important role in the communications between China and “The Western Regions”. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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3、明万历年间，随着耶稣会传教士的到来，对中国的学术思想有所触动。传教士在传播基督教的教义同时，也传入大量科学技术。当时中国一些士大夫及皇帝接受了科学技术上的知识，但是在思想上基本没有受到影响。&lt;br /&gt;
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During Wanli period of Ming Dynasty, as the coming of Jesuit missionaries in China, Chinese academic thought was slightly effected by western thought. At the same time of the spreading of Christian doctrines by those missionaries, a large amount of science and technology was introduced into China. Back then, Chinese emperor and some officials accepted knowledge of western science and technology,but their thought didn’t be influenced by the knowledge.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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4、洋务运动进行30多年虽然没有使中国富强起来，但洋务运动引进了西方先进的科学技术，使中国出现了第一批近代企业，在客观上为中国民族资本主义的产生和发展起到了促进作用。&lt;br /&gt;
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The westernization movement which lasted for over 30 years did not make China become richer or stronger, but it introduced the advanced western science and technology which stimulated the emergence of the first modern enterprises, objectively promoting the emergence and development of Chinese national capitalism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)&lt;br /&gt;
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==Grosheva, Anna==&lt;br /&gt;
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1. To Zhang's surprise, satisfied with their life, the Da Yuezhi people refused to make an alliance against the Huns. &lt;br /&gt;
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令张某惊讶的是，大月之人对自己的生活感到满意，拒绝与匈奴结盟。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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2. He is thought to have become interested in Buddhist teachings later in life and died in India. &lt;br /&gt;
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人们认为他晚年对佛教教义感兴趣，并在印度去世。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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3. This study analyzes four stages of the development of modern sports in Shanghai: germination, growth, thriving, and depression. &lt;br /&gt;
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这项研究分析了上海现代体育发展的四个阶段：发芽，成长，繁荣和沮丧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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4. By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones.&lt;br /&gt;
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到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在完成其他主要新地区的整合。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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1.丝绸之路是我国古代一条连接中国和欧亚大陆的交通线路，由于这条商路以丝绸贸易为主，故称为“丝绸之路”。&lt;br /&gt;
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The Silk Road is a traffic route in the ancienttimes connecting China and Eurasia. This trade route focuses on the trade of silk, hencethe name &amp;quot;theSilk Road&amp;quot;.&lt;br /&gt;
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2.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代路上商业贸易路线。狭义上讲指陆上丝绸之路。广义上讲分为陆上丝绸之路和海上丝绸之路。“陆上丝绸之路”形成于于公元前2世纪与公元1世纪间，直至16世纪仍保留使用，以西汉时期长安为起点(东汉时为洛阳)，经河西走廊到敦煌。“海上丝绸之路”形成于秦汉时期。&lt;br /&gt;
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The &amp;quot;Silk Road&amp;quot; refers to the ancient commercial trade routes starting from China and connecting Asia,Africa and Europe.In a broad sense,it is divided intothe silk road  on the land and silk road on the sea.The &amp;quot;land silk road&amp;quot;opened between the 2nd century BC and the 1st century AD and remained in use until the 16th century.It started from Chang'an in the Western Han Dynasty(or Luoyang in the Eastern Han Dynasty)to Dunhuang via the Gansu Corridor. The &amp;quot;silk road on the sea&amp;quot; formed in the Qin and Han Dynasty.&lt;br /&gt;
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3.在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。&lt;br /&gt;
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The rising modern press deeplytransformed the traditional aesthetic mechanism from thecontent to the form. Then themodern press has facilitated the modern reforms of Chinese esthetics.&lt;br /&gt;
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4.洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。&lt;br /&gt;
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Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China.The Taiping movement accelerated the progress of &lt;br /&gt;
China's modernhistory andpromoted the Westernization movement.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:18, 28 December 2020 (UTC)&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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==Guirou, Barthelemy==&lt;br /&gt;
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1. The Silk Road was an ancient network of trade routes, formally established during the Han Dynasty of China, which linked the regions of the ancient world in commerce between 130 BCE-1453 CE.&lt;br /&gt;
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丝绸之路是一条古老的贸易路线网，在中国汉朝期间正式建立，它连接了公元前130年至1453年之间的古代世界贸易地区。&lt;br /&gt;
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2. The maritime Silk Road was a conduit for trade and cultural exchange between China's south-eastern coastal areas and foreign countries. There were two major routes: the East China Sea Silk Route and the South China Sea Silk Route .&lt;br /&gt;
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海上丝绸之路是中国东南沿海地区与外国之间进行贸易和文化交流的渠道。有两条主要路线：东中国海丝绸之路和南中国海丝绸之路。&lt;br /&gt;
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3. The Westernization Movement, also called the Self-Strengthening Movement, was championed by some Qing government officials from the early 1860s to the middle 1890s. Its aim was to introduce Western technology and modern industrial equipment. This nationwide movement failed because its advocates were unwilling to disturb the status quo of the ruling class. The Sino-Japanese War, which began in 1804 and ended with the annihilation of China’s Beiyang Fleet, exposed the utter failure of the three-decade-long Westernization Movement. As a result, reform-minded Chinese had to seek new ways to save the nation.&lt;br /&gt;
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自1860年代初至1890年代中期，一些清政府官员就发起了洋务运动，也被称为自强运动。其目的是引进西方技术和现代工业设备。这项全国性运动失败了，因为其拥护者不愿打扰统治阶级的现状。抗日战争始于1804年，结束于北洋舰队的歼灭。这场长达3年之久的洋务运动彻底失败了。结果，具有改革意识的中国人不得不寻求新的方法来拯救国家。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:17, 27 December 2020 (UTC)&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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1. 丝绸之路是古代横贯亚欧的通道。其起点一般认为是长安（今西安），其实它随朝代更替政治中心转移而变化。长安（今西安）、洛阳、平城（今大同）、汴梁（今开封）、北京曾先后为丝路起点。&lt;br /&gt;
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The Silk Road is an ancient across of asia-europe. Its starting point is usually ascribed to Changan (now xian), actually the starting point is changed according to the changed political center. Changan (now Xian), Luoyang, Pingcheng (now Datong), Bianliang (today Kaifeng), and Beijing has been the starting point of the  Silk Road.&lt;br /&gt;
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The Silk Road was an ancient crossing between Asia and Europe. Its starting point is generally considered to be Chang'an (present-day Xi'an). In fact, it changes with the change of the political center of dynasties. Chang'an (present-day Xi'an), Luoyang, Pingcheng (present-day Datong), Wei Liang (now Kaifeng), Beijing has been the starting point of silk road.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:09, 27 December 2020 (UTC)&lt;br /&gt;
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2. 海上丝绸之路较之陆上，有共性，也有特性；有优势和潜力，也有难度和挑战。要推进21世纪海上丝绸之路建设，要在对接合作上下功夫。&lt;br /&gt;
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Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characters. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, I believe the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate our cooperation.&lt;br /&gt;
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Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characteristics. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate cooperation.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:14, 25 December 2020 (UTC)&lt;br /&gt;
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3. 在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。 &lt;br /&gt;
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The rising modern press during the period of the Eastward Spread of Western Learning deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.&lt;br /&gt;
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4. 这场运动由士大夫们领导，比如李鸿章（1823——1901）和左宗棠（1812——1885），他们曾在太平起义中与政府军作战。1861到1894年间，现在成为大臣们的这些人负责建立了现代的机构，发展基础工业、通信和交通业并是军队现代化。&lt;br /&gt;
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The movement was championed by scholar-generals like Li Hongzhang (1823—1901) and Zuo Zongtang (1812—1885), who had fought with the government forces in the Taiping Rebellion. From 1861 to 1894, leaders such as these, now turned scholar-administrators, were responsible for establishing modem institutions, developing basic industries, communications, and transportation, and modernizing the military.&lt;br /&gt;
--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:01, 24 December 2020 (UTC)&lt;br /&gt;
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==Ha, Thi Thu Hang==&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
1.张骞（前164年-前114年），字子文，西汉外交家、探险家，是“丝绸之路的开拓者”“东方的哥伦布”。 前139年，张骞奉汉武帝之命，出使西域，打通了汉朝通往西域的道路，即赫赫有名的丝绸之路，促进了东西方文明的交流。汉武帝以军功封其为博望侯。史学家司马迁高度称赞了其出使西域。&lt;br /&gt;
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Zhang Qian( B.C. 164- B.C. 114), whose style name is Ziwen, was the diplomat and explorer in Western Han dynasty. He was called as the pioneer of the Silk Road and the Columbus of the East. In B.C. 139, at the  command of Emperor Wu of Western Han dynasty, Zhang Qian visited Western Regions and carved out a way, advancing the communication between the Eastern and Western civilization. Therefore, Emperor Wu of the Han dynasty granted him the title of Marquis Bowang with military merit. And Historian Sima Qian highly praised his work.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路是古代中国与外国交通贸易和文化交往的海上通道，分为东海航线和南海航线两条线路，主要以南海为中心。海上丝路萌芽于商周，发展于春秋战国，形成于秦汉，兴于唐宋，转变于明清，是已知最为古老的海上航线。 海上丝绸之路途经100多个国家和地区，是中国与外国贸易往来和文化交流的海上大通道，推动了沿线各国的共同发展。&lt;br /&gt;
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The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries. It was divided into two routes, the East China Sea route and the South China Sea route, with the South China Sea as the center. The Maritime Silk Road originated in the Shang and Zhou dynasties, developed in the Spring and Autumn and Warring States periods, formed in the Qin and Han dynasties, flourished in the Tang and Song dynasties, and transformed in the Ming and Qing dynasties. And it is the oldest known maritime route. The Maritime Silk Road, passing through more than 100 countries and regions, is a major maritime corridor for trade and cultural exchanges between China and foreign countries and has promoted the common development of countries along the route.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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The Maritime Silk Road was a maritime passage for communication and cultural exchanges between China and foreign countries in ancient times. Divided into two routes, the East China Sea and the South China Sea, with the South China Sea as the center. The Maritime Silk Road sprouted in the Shang and Zhou Dynasties, developed in the Spring and Autumn Period and Warring States Period, formed in the Qin and Han Dynasties, prospered in the Tang and Song Dynasties, and transformed in the Ming and Qing Dynasties. It is the oldest known maritime route. The Maritime Silk Road passes through more than 100 countries and regions. It is a major maritime channel for trade and cultural exchanges between China and foreign countries, and promotes the common development of countries along the route.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:40, 27 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐是指近代西方学术思想向中国传播的历史过程，通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。&lt;br /&gt;
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The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times. Generally speaking, it is the introduction of academic ideas from Europe and America in the late Ming and early Qing dynasties and the early Ming and Early Ming Dynasties.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动是19世纪60到90年代晚清洋务派进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。 前期，洋务派以“自强”为旗号，创办了一批近代军事工业。后期，以“求富”为旗号，兴办了一批民用工业。甲午中日战争中，北洋海军全军覆没，洋务运动宣告破产。洋务运动虽然没有使中国富强起来，但期间引进了西方先进的科学技术，客观上促进了民族资本主义的产生和发展。&lt;br /&gt;
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The Westernization Movement was a self-help movement carried out by the Westernization Group of the Qing Dynasty from the 1960s to the late 1990s, which introduced western military equipment, machine production and science and technology to save the Qing dynasty. In the early stage, the Westernization Movement established a number of modern military industries under the banner of &amp;quot;self-improvement&amp;quot;. In the later period, under the banner of &amp;quot;seeking wealth&amp;quot;, lots of civil industries were set up. In the Sino-Japanese War of 1894-1895, the entire Beiyang Navy was wiped out, and the Westernization Movement was bankrupt. Although Westernization Movement did not make China rich and powerful, it drew in advanced science and technology from the West, which objectively promoted the emergence and development of national capitalism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
1.人们通常讲&amp;quot;丝绸之路&amp;quot;的开端,都是从汉代张骞通西域开始,他的&amp;quot;凿空&amp;quot;事业居功至伟,标志着&amp;quot;丝绸之路&amp;quot;的正式开通。&lt;br /&gt;
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People usually talk about the beginning of the &amp;quot;Silk Road&amp;quot;, are from the Han Dynasty, Zhang Qian through the Western Regions began, his &amp;quot;chiseling&amp;quot; business is a great credit, marking the official opening of the &amp;quot;Silk Road&amp;quot;.&lt;br /&gt;
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2.在15世纪的明朝永乐时期,郑和七下西洋,将先进的中华物质文化、精神文化和政教文化远播海外,谱写了人类航海史上的新篇章,稳定了当时的东南亚国际秩序,开辟了中国—印度洋航路,将古代海上丝绸之路推向鼎盛。&lt;br /&gt;
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In the 15th century, during the Yongle period of the Ming Dynasty, Zheng He made seven trips to the West, spreading advanced Chinese material, spiritual, political and religious culture overseas, writing a new chapter in the history of human navigation, stabilizing the international order in Southeast Asia at that time, opening up the China-Indian Ocean route, and bringing the ancient Maritime Silk Road to its heyday.&lt;br /&gt;
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During the Yongle period of the Ming Dynasty in the 15th century, Zheng He made seven voyages to the West, spreading advanced Chinese material culture, spiritual culture, and political and religious culture abroad, writing a new chapter in the history of human navigation, stabilizing the international order of Southeast Asia at that time, and opening up The China-Indian Ocean Route pushed the ancient Maritime Silk Road to its peak.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)&lt;br /&gt;
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3.近代的西学东渐,对中国社会产生了广泛而深远的影响,改变了中国人对外部世界的认识。几乎所有的西学门类,以及各种各样的思潮、学说、观念都先后传入中国,在新与旧、古与今、中与外的碰撞中,中国的各种学术得到了极大的开拓和发展。&lt;br /&gt;
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The Western learning in modern times had a wide and far-reaching impact on Chinese society and changed the Chinese people's understanding of the outside world. Almost all the Western disciplines, as well as all kinds of ideas, doctrines and concepts, were introduced to China one after another, and in the collision between the old and the new, the ancient and the modern, and the Chinese and the foreign, Chinese scholarship was greatly developed.&lt;br /&gt;
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The spread of western learning in modern times has had a broad and far-reaching impact on Chinese society, and changed the Chinese people's understanding of the outside world. Almost all Western learning disciplines, as well as various ideological trends, doctrines, and concepts have been introduced to China. In the collision of new and old, ancient and modern, and China and foreign countries, various academic studies in China have been greatly developed. And development.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动是我国近代教育史的开端,可以说,它不仅是对我国传统教育的一次重要变革,更是我国现代教育制度萌芽的一个重要时期。&lt;br /&gt;
The westernization movement is the beginning of China's modern education history, it can be said that it is not only an important change to China's traditional education, but also an important period for the sprouting of China's modern education system.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:17, 27 December 2020 (UTC)&lt;br /&gt;
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The Westernization Movement is the beginning of modern education history in our country. It can be said that it is not only an important change to our traditional education, but also an important period of the germination of our modern education system.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
1.1417年，永乐皇帝下令郑和将使节送回国内。郑和和他的舰队再次回到海上启航，进行他的第五次远征（1417-1419）。他在许多相同的地方停留，包括爪哇岛、苏门答腊岛，还为他遇到的不同的统治者带来了信件和财富。&lt;br /&gt;
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By 1417, the Yongle Emperor ordered Zheng He to return the envoys home. Once more back on the seas, Zheng He and his large fleet set sail for his fifth expedition (1417-1419). He stopped in many of the same places, including Java, Sumatra, and also brought letters and riches to the different rulers Zheng He met. &lt;br /&gt;
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In 1417, Emperor Yongle ordered Zheng He to send the envoys back home. Zheng He and his fleet returned to sea again to set sail on his fifth expedition (1417-1419). He stopped at many of the same places, including Java and Sumatra, and also brought letters and wealth to the different rulers he met. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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2.海上丝绸之路从福建泉州开始, 是秦汉时期形成、三国时期发展到隋朝、盛唐宋朝、明清衰落的最早航程航线。&lt;br /&gt;
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Starting from Quanzhou Fujian Province, the maritime Silk Road was the earliest voyage route that was formed in the Qin and Han dynasties, developed from the Three Kingdoms Period to the Sui Dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties.&lt;br /&gt;
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The Maritime Silk Road began in Quanzhou, Fujian Province, and was the earliest voyage route formed during the Qin and Han dynasties, developed during the Three Kingdoms Period to the Sui dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐不仅客观上促成了马克思主义哲学在中国的广泛传播, 构成了马克思主义哲学中国化的一个重要历史前提, 而且引发了中国哲学历史发展过程中的重大变革, 推动了中国哲学从古代传统向近代传统的转变。&lt;br /&gt;
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The spread of Western learning to the East objectively promoted the dissemination of Marxist philosophy, forming an important historical precondition for its Sinicization. Moreover, it triggered a great transformation in the historical development of Chinese philosophy and facilitated its transition from an ancient to an early modern tradition.&lt;br /&gt;
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The eastward spread of Western learning has not only objectively contributed to the widespread dissemination of Marxist philosophy in China, constituting an important historical premise for the Chineseization of Marxist philosophy, but also triggered a major change in the historical development of Chinese philosophy, promoting the transformation of Chinese philosophy from the ancient to the modern tradition. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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4.鸦片战争、不平等条约和19世纪中叶的大规模起义的残酷现实，使清朝朝臣和官员认识到壮大中国的必要性。自19世纪40年代以来，中国学者和官员一直在研究和翻译“西学”。&lt;br /&gt;
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The rude realities of the Opium War, the unequal treaties, and the mid- 19th century mass uprisings caused Qing courtiers and officials to recognize the need to strengthen China. Chinese scholars and officials had been examining and translating &amp;quot;Western Learning&amp;quot; since the 1840s.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:05, 25 December 2020 (UTC)&lt;br /&gt;
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The harsh realities of the Opium War, the unequal treaties, and the mass uprisings of the mid-19th century made courtiers and officials of the Qing Dynasty realize the need to strengthen China. Since the 1840s, Chinese scholars and officials had been studying and translating &amp;quot;Western Learning&amp;quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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1. 汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。这条通道，就是后世闻名的“丝绸之路”。丝绸之路则成为“一带一路”的重要历史符号，使得我们高举和平发展的旗帜，积极发展与沿线国家的经济合作伙伴关系。 &lt;br /&gt;
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Although the missions to the western Regions in the Han Dynasty were originally aimed for military purposes, their influence went far beyond the military scope. This passageway was later known as the Silk Road. The silk road has become an important historical symbol of &amp;quot;One Belt And One Road&amp;quot;, which makes us hold high the banner of peaceful development and actively develop economic partnership with countries along the route.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)&lt;br /&gt;
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2. 郑和当时率领着世界上最强大的船队下西洋，带去的不是血与火、掠夺与殖民，而是瓷器、丝绸、茶叶。下西洋是世界航海史上的壮举，现在东南亚一带还有许多几年内郑和的建筑物，表达了人们对他的尊敬。&lt;br /&gt;
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Leading the most powerful fleet in the world, Zheng He made seven voyages to the Western Seas, bringing there porcelain, silk and tea, rather than bloodshed, plundering or colonialism.  Zheng He's voyages were a great feat in the world's navigation history. There are still many buildings in present Southeast Asia dedicated to his memory.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)&lt;br /&gt;
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3. 自十七世纪开始的西学东渐，对明清之际实学思潮的兴起起到了催生作用。&lt;br /&gt;
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Since the 17th century, the west knowledge spread to the east gradually, which accelerated the rise of ideological trend during the period of Ming and Qing dynasty.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)  &lt;br /&gt;
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Eastward Spread of Western Learning starting from the 17th century accelerated the rise of ideological trend during the period of Ming and Qing dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:04, 27 December 2020 (UTC)&lt;br /&gt;
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4. 洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。洋务教育是洋务派为了满足洋务运动的需要，培养洋务人才进行的教育变革。&lt;br /&gt;
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The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enllightenment in China. Westernization education was an education reformation launched by Westernization Faction intending to meet the needs of cultivating new-type talents.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)&lt;br /&gt;
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The historical role of the foreign affairs movement is not only in the economy, but also in the enlightenment of modern Chinese thought. Westernization education is the educational reform carried out by Westernization Faction in order to meet the needs of cultivating new-type talents.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 27 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。&lt;br /&gt;
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Zhang Qian has made two missions to the Western Regions, opening up the land transportation between China and Central Asia, West Asia, South Asia and even Europe. Since then, the Chinese have sold silk, tea, lacquerware and other products to the Western Regions and Central Asia and other countries through this road, while importing gems, glassware and other products from Europe, West Asia and Central Asia.&lt;br /&gt;
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2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries, which was mainly centered on the South China Sea, so it was also known as the South China Sea Silk Road. The Maritime Silk Road was formed during the Qin and Han Dynasties, developed during the Three Kingdoms to the Sui Dynasty, flourished during the Tang and Song Dynasties, and transformed during the Ming and Qing Dynasties, which is the oldest maritime route known to people.&lt;br /&gt;
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3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术活动的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。&lt;br /&gt;
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The Eastward Spread of Western Learning brought various new academic achievements in modern West into China, which deeply influenced the development of various academic activities, and many academic disciplines that were not valued or even did not exist in traditional China also developed under this influence.&lt;br /&gt;
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4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
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Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:42, 25 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
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==Lo, Minh Thao==&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
1 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。&lt;br /&gt;
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The Overland Silk Road originated from the Western Han Dynasty (202-8 BC), when Emperor Wudi of the Han Dynasty sent Zhang Qian on a mission to the western Regions. Starting from the capital Chang 'an (now Xi 'an), it passed through Gansu and Xinjiang, reached central Asia and West Asia, and connected the Mediterranean countries on land. In the Eastern Han Dynasty, the starting point of the Silk Road was Luoyang. Its primary function was to transport silk produced in ancient China.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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2 郑和具备军事才能，并且得到朱棣的信任。在朱棣决策下西洋时，郑和正当壮年。朱棣曾询问袁忠彻以郑和率军出使是否合适，袁忠彻认为合适。&lt;br /&gt;
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Zheng He had military talents and Zhu Di trusted him. When Zhu Di was planning to the West, Zheng He was in his prime. Zhu Di had asked Yuan Zhongche whether Zheng was the right person on such massion. Yuan Zhongche thought he was appropriate.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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3 徐光启较早师从利玛窦学习西方的天文、历法、数学、测量和水利等科学技术，毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。&lt;br /&gt;
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Xu Guangqi studied western science and technology such as astronomy, calendar, mathematics, measurement and water conservancy under Matteo Ricci. He devoted his whole life to the research of science and technology and wrote assiduously. He was an active promoter in introducing and absorbing European science and technology and made important contributions to the cultural exchanges between China and the West in the 17th century.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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4 曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。&lt;br /&gt;
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Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。&lt;br /&gt;
A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.&lt;br /&gt;
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2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。&lt;br /&gt;
Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.&lt;br /&gt;
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3.西学东渐是指近代西方学术思想向中国传播的历史过程。&lt;br /&gt;
The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times.&lt;br /&gt;
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4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。&lt;br /&gt;
Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:28, 27 December 2020 (UTC)&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点。&lt;br /&gt;
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The traditional silk road starts from Chang'an, the ancient capital of China, and reaches the Mediterranean Sea through Central Asian countries, Afghanistan, Iran, Iraq, Syria, etc. with Rome as the end point.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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2.在地文航海技方面，郑和下西洋的地文航海技术，是以海洋科学知识和航海图为依据，运用了航海罗盘、计程仪、测深仪等航海仪器，按照海图、针路簿记载来保证船舶的航行路线。&lt;br /&gt;
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In terms of geographical navigation technology, Zheng He's geographical navigation technology was based on marine scientific knowledge and nautical charts. He used navigational instruments such as compass, log and depth sounder to ensure the navigation route of the ship according to the records of charts and needle books.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。&lt;br /&gt;
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After the Sino Japanese War, because China was facing with the fate of national destruction, many people of insight began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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4.经过两次鸦片战争的失败，以及太平天国的打击，清朝内外交困，清朝的一部分官僚开始认识到西方坚船利炮的威力。为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。&lt;br /&gt;
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After the defeat of the two Opium Wars and the attack of the Taiping Heavenly Kingdom, the Qing Dynasty was beset by internal and external troubles, and some of the bureaucrats in the Qing Dynasty began to realize the power of the western strong ships and cannons. In order to relieve domestic and foreign troubles, enrich the country and strengthen the army, and maintain the rule of the Qing Dynasty, they began to learn western culture and advanced technology.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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1.汉通西域，虽然起初是出于军事目的，但丝绸之路开通以后，它的影响，远远超出了军事范围。&lt;br /&gt;
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Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far beyond the military scope after the opening of the Silk Road.&lt;br /&gt;
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Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far-reaching, well beyond the military scope after the opening of the Silk Road.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:38, 26 December 2020 (UTC)&lt;br /&gt;
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2.明初工商业的恢复和发展，宋、元以来中国海外贸易的发达，对外移民的增加，所有这一切，都为郑和下“西洋”准备了坚实的经济基础和物质条件。&lt;br /&gt;
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The recovery and development of industry and Commerce in the early Ming Dynasty, the development of China's overseas trade since the song and Yuan Dynasties, and the increase of foreign immigrants all prepared a solid economic foundation and material conditions for Zheng He's &amp;quot;western&amp;quot; voyage.&lt;br /&gt;
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3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。&lt;br /&gt;
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Matteo Ricci spread the western knowledge of geometry, geography and humanism to the Chinese society, which initiated the practice for the literati to absorb western learnings in the late Ming Dynasty.&lt;br /&gt;
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Ricci spread western knowledge of geometry and geography as well as humanist views to Chinese society, opening the way for scholars in the late Ming Dynasty to absorb western studies.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)&lt;br /&gt;
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4.江南制造局虽是清末洋务派创办的规模最大的兵工厂，但是技术上仍是由外国技师垄断．&lt;br /&gt;
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Although Jiangnan Manufacturing Bureau was the largest arms factory founded by Westernization Group in the late Qing Dynasty, it was still monopolized by foreign technicians in the aspect of technique.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:33, 26 December 2020 (UTC)Mo Ling&lt;br /&gt;
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Although Jiangnan Manufacturing Bureau was the largest arsenal founded by the Westernization Group in the late Qing Dynasty, the technology was still monopolized by foreign technicians.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)&lt;br /&gt;
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==Ngo, Thi Minh Huong==&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
1.建元二年（前139年），张骞率领100多名随行人员，由匈奴人堂邑父为向导从长安出发前往西域。西行进入河西走廊。这一地区自月氏人西迁后，已完全为匈奴人所控制。正当张骞一行匆匆穿过河西走廊时，不幸碰上匈奴的骑兵，他们全部被抓获。&lt;br /&gt;
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In the second year of Jianyuan(139 B.C.), Zhang Qian set off to the Western Regions leading an entourage of more than 100 men from Chang'an under the guidance of Tang Yifu who is a Hun. They travelled westward into the Hexi Corridor which had been completely controlled by the Huns since they moved westward. When they tried to hurry through this region, unfortunately they met the Hun cavalry, and they were all captured.&lt;br /&gt;
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2.郑和下西洋所到之处主要是开展贸易活动，以“朝贡贸易”为基本形式，同时推行“官方贸易”、带动“民间互市”等。&lt;br /&gt;
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Zheng He's voyages are mainly to carry out trade activities, during which they took &amp;quot;tribute trade&amp;quot; as the basic activity, and at the same time promoted &amp;quot;official trade&amp;quot; and &amp;quot;non-governmental trade&amp;quot;.&lt;br /&gt;
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3.在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们，在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。&lt;br /&gt;
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From the late Ming Dynasty to the early Qing Dynasty, missionaries played an important role in the Eastward Spread of Western Learning. While trying to introduce Catholicism into China, the missionaries mainly composed of the Catholic Jesuits introduced western scientific and technological thoughts and translated a large number of western academic books.&lt;br /&gt;
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4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。&lt;br /&gt;
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During the 35 years of Westernization Movement, the development of cultural publishing reached an unprecedentedly high level. The translation of books experienced a process from the dominance of western scientific and technological works to the emphasis laid equally on works of natural and social sciences and humanities, and even the latter took the majority.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 12:15, 24 December 2020 (UTC)&lt;br /&gt;
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1. In the second year of Jian Yuan (139 BC), Zhang Qian led more than 100 serve men, with the Xiongnu man Tang Yi as the guide, to set off from Chang’ an to the West. This area has been completely controlled by the Xiongnu since the westward migration of the Ziyue people. Just as Zhang Qian passed through the Hexi Corridor, they unfortunately ran into the Xiongnu cavalry, who captured them all.&lt;br /&gt;
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2. Zheng He mainly carried out trade activities in all the places he visited, taking “tribute trade” as the basic form. At the same time, he also promoted “official trade” and “private mutual market”.&lt;br /&gt;
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3. In the wave of Western learning in the late Ming and early Qing dynasties, missionaries played an important role, mainly the Jesuit missionaries, who tried to introduce Catholicism into China, introduced Western scientific and academic ideas, and translated a large number of Western academic books.&lt;br /&gt;
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4. During the 35 years’ Westernization Movement, the development of publishing reached an unprecedented level. The translation of books went through a process from purely Western scientific and technological works and books to works on natural sciences and social sciences, humanities, etc., with the latter even slightly prevailing.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:54, 25 December 2020 (UTC)Yang chenting&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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==Phyo, Su Kyi==&lt;br /&gt;
1-张谦出生于西汉（公元前206年至公元24年）的城固县（今陕西省城固县）。他是中国历史上杰出的使节和探险家，开辟了古老的丝绸之路，并带来了有关西部地区的可靠信息.&lt;br /&gt;
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Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 BC-24 AD). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions.&lt;br /&gt;
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Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 B.C.-24 A.D.). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions to China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)&lt;br /&gt;
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2-郑和（1371-1433）是一位伟大的中国探险家和舰队司令。他进行了七次主要探险，以探索中国皇帝的世界并在新地区建立中国贸易。&lt;br /&gt;
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Zheng He (1371 - 1433) was a great Chinese explorer and fleet commander. He went on seven major expeditions to explore the world for the Chinese emperor and to establish Chinese trade in new areas.&lt;br /&gt;
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Zheng He, a great Chinese explorer and fleet captain, has carrried out 7 major explorations to broaden Chinese emperor's world and establish Chinese trade in new regions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:02, 24 December 2020 (UTC)&lt;br /&gt;
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3-西方的儒道教说，为中西文化交流做出了贡献。&lt;br /&gt;
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The West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchange between China and the West.&lt;br /&gt;
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The Chinese Confucian and Daoist doctrines in the West, and made contributions to cultural exchange between China and the West.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)&lt;br /&gt;
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4-自强运动，又称为洋务运动（西洋运动或西洋运动）（约1861年至1895年），是鸦片战争的军事灾难后在清朝后期在中国发起的体制改革时期。&lt;br /&gt;
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The Self-Strengthening Movement, also known as the Westernization or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing dynasty following the military disasters of the Opium Wars.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 09:43, 24 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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The Self-Strengthening Movement, also known as the Westernization Movenment or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing Dynasty following the military disasters of the Opium Wars.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)&lt;br /&gt;
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==Pingki, Tanchangya==&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
1、丝绸之路是起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线，最初的作用是运输古代中国出产的丝绸、瓷器等商品，后来成为东方与西方之间在经济、政治、文化等诸多方面进行交流的主要道路。&lt;br /&gt;
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The Silk Road was an ancient overland commercial and trade route connecting Asia, Africa and Europe that started from ancient China. Its initial function was to transport commodities such as silk and porcelain produced in ancient China. Later, it became the main road for economic, political and cultural exchanges between the East and the West.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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2、郑和下西洋，是15世纪初叶世界航海史上的空前壮举， 对中外经济、文化交往起到了积极作用；郑和本人，也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。 晚清以降，郑和研究获得迅速发展，但不少重要课题仍无定论。&lt;br /&gt;
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Zheng He's voyages to the West were an unprecedented feat in the maritime history of the world at the beginning of the 15th century, which played a positive role in the economic and cultural exchanges between China and foreign countries. Zheng himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and memory of the world. Since the late Qing Dynasty, the study of Zheng has achieved rapid development, but many important issues are still not conclusive.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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3、徐光启，上海人，是自李时珍后的明代又一位杰出的科学家。他生于嘉靖41年即公元1562年，父亲是个小商人，家里有一点土地，但日子过得并不宽裕，所以徐光启从小就从事农业生产劳动，这对他后来的成长有很大影响。&lt;br /&gt;
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Xu Guangqi, a Native of Shanghai, was another outstanding scientist in the Ming Dynasty after Li Shizhen. He was born in 1562, the year of the 41st emperor jiajing. His father was a merchant and his family had a little land, but his life was not very well-off. Therefore, Xu Guangqi was engaged in agricultural production and labor from an early age, which had a great influence on his later growth.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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4、曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。&lt;br /&gt;
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Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
1.丝绸之路促进了中外经济文化的交流，也密切了汉族与沿途的其他少数民族的关系，促进了我国西北地区的开发。&lt;br /&gt;
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The Silk Road has enhanced economic and cultural exchanges between China and foreign countries, as well as closer relations between the Han nationality and other minorities along the route, and promoted the development of the northwest China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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2.21世纪海上丝绸之路的战略合作伙伴并不仅限与东盟，而是增进同沿边国家和地区的交往，串起连通东盟、南亚、西亚、北非、欧洲等各大经济板块的市场链，发展面向南海、太平洋和印度洋的战略合作经济带，以亚欧非经济贸易一体化为发展的长期目标。&lt;br /&gt;
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The strategic partners of the Maritime Silk Road in the 21st century are not only limited to ASEAN, but also to promote exchanges with countries and regions along the border, linking the market chains of ASEAN, South Asia, West Asia, North Africa, Europe and other major economic sectors, and developing a strategic cooperative economic belt for the South China Sea, the Pacific Ocean and the Indian Ocean, with Asia-Europe and Africa economic and trade integration as the long-term goal of development.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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3.发生在明末清初并且延续到清朝中叶，伴随着耶稣会士来华传教而展开的西方科技传入中国的历史事件，被称为西学东渐第一波。它给中国科技发展带来了全新的可能性。&lt;br /&gt;
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The historical event of the introduction of Western science and technology into China, which took place in the late Ming and early Qing dynasties and lasted until the middle of the Qing dynasty, accompanied by the Jesuits' mission to China, is known as the first wave of The Eastward Spread of Western Learning. It brings new possibilities to the development of science and technology in China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动虽然有种种缺陷和弊端，但主要历史作用是积极的，是中国近代史上的一次进步运动。它促进了民族资本主义的发展，延缓了而不是加速了中国半殖民地化的进程。&lt;br /&gt;
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Although the Westernization Movement has various defects and drawbacks, its main historical role is positive. As a progressive movement in the modern history of China, it promoted the development of national capitalism and delayed rather than accelerated the process of China's semi-colonization.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。&lt;br /&gt;
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The land Silk Road originated from the Western Han Dynasty (BC 202-AD 8 ) when Emperor Wu of Han Dynasty dispatched Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, with connection to Mediterranean countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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2.向西航行的郑和七下西洋：这是明朝政府组织的大规模航海活动，曾到达亚洲、非洲39个国家和地区，这对后来达·伽马开辟欧洲到印度的地方航线，以及对麦哲伦的环球航行，都具有先导作用。&lt;br /&gt;
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Westward sailing of Zheng He's seven voyages was a large-scale sailing activity organized by the Ming government, which travelled 39 countries and regions in Asia and Africa, which had a pioneering effect on the Da Gamma’s opening up the local route from Europe to India, as well as on Magellan's worldwide voyage.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。中国人经过西学的洗礼，对于世界、历史发展、政治、经济、社会、自然界万事的看法，都有了巨大的改变。&lt;br /&gt;
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The impact and the changes in Chinese thought and culture caused by Western learning can be rivaled only by the Hundred Schools of Thought in the history of China. After the baptism of Western learning, tremendous changes have been made on Chinese people's views on the world, historical development, politics, economy, society, and the whole nature.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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4.清政府统治集团内的一些开明人士为了维护清政府的封建统治，而采取了一系列“自强”“求富”的措施，虽然其目的是为了维护封建统治，但这一运动是符合历史潮流的。&lt;br /&gt;
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Some enlightened people in the Qing government adopted a series of measures for &amp;quot;self-improvement&amp;quot; and &amp;quot;seeking wealth&amp;quot; in order to maintain the feudal rule of the Qing government. Although they were aimed to maintain the feudal government, this movement was in line with the historical trend.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
1. 张骞出使西域，既是一次极为艰险的外交旅行，同时也是一次卓有成效的科学考察。张骞对广阔的西域进行了实地的调查研究工作。&lt;br /&gt;
Zhang Qian's mission to the western regions was not only an extremely difficult diplomatic trip, but also an effective scientific investigation. Zhang Qian made a field investigation on the vast western regions.&lt;br /&gt;
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Zhang Qian's mission to the Western Regions was not only an extremely difficult and dangerous diplomatic trip, but also a fruitful scientific investigation. Zhang Qian conducted field investigation and research work on the vast Western Regions.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2. 十五世纪初期，郑和下西洋作为军事史上一项意义重大的事件，当前学术界从郑和下西洋的政治、经济及文化等角度对该事件的作用及影响进行了分析，鲜少从历史意义层面进行研究。郑和七次下西洋所到达的地区、实施的措施在人类航行史上占据至关重要的地位，了解郑和下西洋的历史意义非常必要。&lt;br /&gt;
At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academic circles have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.&lt;br /&gt;
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At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academia have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:49, 26 December 2020 (UTC)&lt;br /&gt;
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3. 明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。&lt;br /&gt;
During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period.&lt;br /&gt;
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During the Wanli period of Ming Dynasty, western missionaries represented by Matteo Ricci came to China to preach and bring western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, western science and technology began to develop rapidly, while The development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4. 随着经济全球化的发展，国与国之间的界限已经减少了。中国不断引进西方的文化，外国也不断引进中国的文化。在这个过程中，中国从最原始的封建社会，也逐步走向西化。&lt;br /&gt;
With the development of economic globalization, the boundaries between countries have been reduced. China is constantly introducing western culture, and foreign countries are also constantly introducing Chinese culture. In this process, China gradually moved from the most primitive feudal society to Westernization.&lt;br /&gt;
--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:38, 26 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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With the development of economic globalization, the boundaries between countries have been reduced. China continues to introduce Western culture, and foreign countries continue to introduce Chinese culture. In this process, China has gradually moved from the most primitive feudal society to Westernization.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳。它的最初作用是运输中国古代出产的丝绸。&lt;br /&gt;
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1.The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries. The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk from ancient China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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2.The &amp;quot;maritime Silk Road&amp;quot; is a maritime channel for communication, trade and cultural exchanges between ancient China and foreign countries. The road is mainly centered on the South China Sea, so it is also called the South China Sea Silk Road. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.&lt;br /&gt;
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3.除了传教士之外，许多来华的官员、探险家等也成为传入西学的重要媒介，例如将领戈登对于中国洋务时期军事的影响。主持海关总税务司的赫德对于西方管理制度的引入，以及译介书籍、最早西方军乐队的引入都有影响。&lt;br /&gt;
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3.Besides missionaries, many officials and explorers who came to China also became important media for the introduction of Western learning, such as general Gordon's influence on China's military during the Westernization period. Hurd, who presided over the General Revenue Department of customs, had an influence on the introduction of Western management system, the translation of books and the introduction of the earliest Western military band.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4.洋务运动内容涉及军事、政治、经济、外交等，以“自强”为名，兴办军事工业并围绕军事工业开办其他企业，建立新式武器装备的陆海军。洋务派经营的这些近代企业，是在不改变封建统治为前提下所办企业，具有很强的对外依赖性、封建性和一定程度的垄断性。&lt;br /&gt;
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4.The Westernization Movement involved military affairs, politics, economy, diplomacy and so on. In the name of &amp;quot;self-improvement&amp;quot;, the Westernization Movement set up military industry and other enterprises around the military industry to establish the army and Navy with new weapons and equipment. These modern enterprises managed by the Westernization clique were established on the premise of not changing the feudal rule, and had strong external dependence, feudalism and a certain degree of monopoly.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
1.2100多年前，中国汉代的张骞两次出使中亚，开启了中国同中亚各国友好交往的大门，开辟出一条横贯东西、连接欧亚的丝绸之路。千百年来，在这条古老的丝绸之路上，各国人民共同谱写出千古传诵的友好篇章。&lt;br /&gt;
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The Silk Road first emerged more than 2,100 years ago during the Han Dynasty (206 BC-AD 24) after China's imperial envoy Zhang Qian twice visited Central Asia. It became a bridge between East and West, opening the door to friendly engagement between China and Central Asia. For two millennia, countless tales of everlasting friendship between peoples have been woven into this ancient network.&lt;br /&gt;
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2.中国走的是一条和平发展之路。作为拥有五千年文明积淀的东方大国，中国人历来崇尚以和为贵，从来就没有对外扩张的基因。600多年前，郑和率领当时世界上最强大的船队七次远航太平洋和西印度洋，到访30多个国家和地区，没有侵占一寸土地。这对于当年热衷于殖民扩张的西方国家来说，简直是不可思议，但中国确实做到了。&lt;br /&gt;
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China follows a path of peaceful development. China is a big country in the East with a five-thousand-year civilization. The Chinese believe in peace. There’s not a single bone of making external expansionism in the body of the Chinese. As early as over six hundred years ago, the Chinese navigator Zheng He led the biggest fleet in the world to the Pacific and west Indian Oceans on seven expeditions, visiting over thirty countries and regions, not taking a single inch of land. That was actually quite inconceivable for those Western powers who were busy making colonial expansion, but the Chinese did that. &lt;br /&gt;
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3.在19世纪的西学东渐中，基督新教的教士也开始进入中国，天主教士也随口岸的开放来往各地，他们成立教会学校、医院，并开设印书馆、设立期刊、并译著大量各种书籍。对于西学的传入有很大贡献。&lt;br /&gt;
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In the 19th century, Protestant priests also began to enter China, and Catholics also came with the opening of the ports. They established schools and hospitals, printed books, set up periodicals, and translated a large number of books. They contributed greatly to the Eastward Spread of Western learning。&lt;br /&gt;
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4.在新航路的开辟，文艺复兴，宗教改革运动，资产阶级革命，产业革命的推动下，至洋务运动发生时，资本主义世界体系已初步完成，人类进入了一个新时期，这也是历史发展的必然。&lt;br /&gt;
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Driven by the opening of new routes, the Renaissance, the Reformation, the bourgeois revolution, the industrial revolution, and by the time of the foreign affairs movement, the capitalist world system had been initially completed and mankind had entered a new period, which was a natural development of history.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:04, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
1.张骞第一次虽然没有完成出使目的，但是对西域诸国的山川地理、风土民情等重要信息，有了非常细致全面的掌握。&lt;br /&gt;
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Although Zhang Qian did not reach the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of the western countries.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)&lt;br /&gt;
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Although Zhang Qian did not arrive at the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of many western countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举。郑和本人也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。&lt;br /&gt;
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Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He, showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and honor of the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:06, 25 December 2020 (UTC)&lt;br /&gt;
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Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event who has won the respect and honor of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。&lt;br /&gt;
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After the War of 1894, as China was reduced to separation, many people of insight began to learn from the West more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)&lt;br /&gt;
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After the War of 1894, as China was reduced to separation, many people of insight began to learn from the Western countries more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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4.戊戌变法是一次具有爱国救亡意义的变法维新运动，是中国近代史上一次重要的政治改革，也是一次思想启蒙运动。&lt;br /&gt;
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The Hundred Days' Reform is a movement with the significance of patriotic salvation, an important political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)&lt;br /&gt;
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The Hundred Days' Reform is a movement with the significance of patriotic salvation, a significant political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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1.丝绸之路是古代中国联系中亚、西亚、非洲和欧洲的交通要道。19世纪，德国一个地理学家首次使用“丝绸之路”这一术语，一直沿用到今天。期初，它指从中国新疆到中亚的陆地通道。&lt;br /&gt;
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The Silk Road was a general name for the ancient strategic transportation channel which started from China and passed through Central Asia, West Asia, Africa and Europe. In the 19th century, when the name of Silk Road was first used by a German geographer, it just included the land road from China’s Xinjiang to Central Asia.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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2.海上丝绸之路在时间和空间上经过了长期的发展，在东方各国共同的经营下，形成了东方历史上一道独特而壮丽的风景，至今仍然承载着东方文明的传统。&lt;br /&gt;
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The Maritime Silk Road has gone through long-term development in time and space. Under the joint management of eastern countries, it has formed a unique and magnificent scenery in the history of the East and still carries the tradition of eastern civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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3.中华文明是古代六大原生文明之一，由于所处的独特地理位置，中华文明的发展一直具有极强的独立性，较少受到其他文明的影响。但随着历史向前发展，中国与世界的联系也更为密切，直到明末清初“西学东渐”，中国人才第一次系统地接触到西方文明。&lt;br /&gt;
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The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history progressed, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history moving forward, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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4.洋务运动创办了近代中国由国人自办的最早一批军用和民用近代企业，揭开了中国资本主义生产方式的序幕。&lt;br /&gt;
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The Westernization Movement established the first modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The Westernization Movement established the first bunch of modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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1. 丝绸之路经济带，是在古丝绸之路概念基础上形成的一个新的经济发展区域。包括西北五省区陕西、甘肃、青海、宁夏、新疆。&lt;br /&gt;
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1. Silk Road Economic Belt is a new economic development region formed on the basis of the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. &lt;br /&gt;
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The Silk Road Economic Belt is a new economic development region based  on the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:03, 24 December 2020 (UTC)&lt;br /&gt;
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The Silk Road Economic Belt is a new economic development region based on the ancient one. It covers the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:08, 25 December 2020 (UTC)&lt;br /&gt;
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2. 海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。&lt;br /&gt;
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2. Maritime Silk Road is a maritime route of trade and cultural exchanges between ancient China and foreign countries, also known as “Maritime Ceramic Road” and “Maritime Spice Road”, first mentioned by the French orientalist Chavan in 1913.&lt;br /&gt;
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The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the &amp;quot;Sea Ceramic Road&amp;quot; and &amp;quot;Sea Spice Road&amp;quot;. It was first mentioned in 1913 by the French orientalist Shawan.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)&lt;br /&gt;
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3. 西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。&lt;br /&gt;
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3. The Eastward Spread of Western Learning is a historical process of spreading Western academic thought to China from the late Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things into China from ancient times to contemporary times, but usually refers to the introduction of academic thought from Europe and the United States in the late Ming and early Qing dynasties.&lt;br /&gt;
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Western learning refers to the historical process of the dissemination of Western academic thought to China from the end of the Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things from ancient times to the present time into China, it usually refers to the end. During the early Qing Dynasty and the late Qing Dynasty and the early Republican period, academic ideas were introduced into Europe and the United States.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)&lt;br /&gt;
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4. 鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。这些卓识远见表明近代向西方学习的思潮的始初就和爱国精神交融在一起。&lt;br /&gt;
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4. After the Opium War, their basic idea was to understand the situation of the barbarians and “learn from them in order to control them”. These insights show that the modern trend of learning from the West was intertwined with the spirit of patriotism from the very beginning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:34, 24 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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1.明代中期以后，政府采取了闭关锁国的政策，与此同时，造船技术和航海技术不断发展，海上交通代之而起，使丝绸之路贸易全面走向衰落。&lt;br /&gt;
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After the mid-Ming Dynasty, the government adopted a policy of shutting down the country. At the same time, shipbuilding technology and navigation technology continued to develop, and maritime traffic took its place, causing the Silk Road trade to decline in an all-round way.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)&lt;br /&gt;
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After the middle of Ming Dynasty, the government adopted the policy of self-seclusion. At the same time, the shipbuilding technology and navigation technology developed continuously, and the maritime transportation replaced it, which made the Silk Road trade decline in an all-round way.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)&lt;br /&gt;
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2.郑和，这位航海史上的先驱，以智慧为舵，扬起和平的风帆，缔造了世界航海业发展的里程碑，厚植了“一带一路”的文化底色与民心基石，书写了中国同其他国家友好交往的千古佳话。&lt;br /&gt;
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Zheng He, a pioneer in the history of navigation, took wisdom as the rudder and raised the sail of peace. He created a milestone in the development of the world’s navigation industry. An eternal story of friendly exchanges between countries.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)&lt;br /&gt;
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3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。&lt;br /&gt;
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Matteo Ricci spread Western geometry, geography knowledge, and humanistic views to Chinese society, and developed the ethos of scholar-officials in the late Ming Dynasty to learn Western studies.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)&lt;br /&gt;
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Matteo Ricci spread the Western knowledge of geometry, geography and humanism to the Chinese society, which opened the atmosphere for the literati to learn western learning in the late Ming Dynasty.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
1、丝绸之路经过亚洲、中东、北非和欧洲。几个世纪以来，丝绸之路是东西方交流的最重要的线路。尽管名字叫丝绸之路，人们进行贸易的商品却不仅仅是丝绸。玄奘和马可·波罗都留下了他们丝绸之路之旅的详尽记录。&lt;br /&gt;
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The Silk Road went through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road was the most important line of communication connecting East and West. Although it's called the Silk Road, people traded much more than silk. Both Xuan Zang and Marco Polo left detailed records of their journeys along the Silk Road.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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The Silk Road passes through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road has been the most important route for exchanges between East and West. Although it is called the Silk Road, the goods people trade are not just silk. Both Xuanzang and Marco Polo kept detailed records of their Silk Road journey. --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)&lt;br /&gt;
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2、郑和（1317-1435）是中国最有名的探险家之一。1405至1433年间，郑和完成了七次著名的航行。他游览了亚洲和非洲的许多国家。郑和还从他游览的国家带回来很多礼物，像药品，珍珠和珍禽异兽。&lt;br /&gt;
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Zheng He (1371-1435) was one of China's most famous explorers. Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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As one of China's most famous explorers,Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:11, 27 December 2020 (UTC)&lt;br /&gt;
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3、在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。 &lt;br /&gt;
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The rising modern press deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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The modern newspapers and periodicals that emerged in the tide of western learning changed the traditional aesthetic mechanism, and caused a fundamental change in aesthetics from content to form, thus contributing to the modern transformation of Chinese aesthetics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)&lt;br /&gt;
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4、洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。 &lt;br /&gt;
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Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China. The Taiping movement accelerated the progress of China's modern history and promoted the Westernization movement. The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enlightenment in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
1公元前2世纪，中国就开始开辟通往西域的丝绸之路。汉代使节(envoy)张骞于公元前138年和 119年两次出使西域。&lt;br /&gt;
In the 2nd century BC, China began working on the Silk Road leading to the Western Regions. In138 BC and 119 BC, envoy Zhang Qian of the Han Dynasty made a trip to these regions respectively. &lt;br /&gt;
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2，西汉时期,中国的商船队就到达了印度和斯里兰卡(Sri Lanka),用中国的丝绸 换取了琉璃(colored glaze)、珍珠等物品。&lt;br /&gt;
In the Western Han Dynasty, China's merchant fleets sailed to as far as India and Sri Lanka to trade China's silk for colored glazes, pearls and other products.&lt;br /&gt;
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3，唐代是中国历史上对外交流的活跃期。据史料记载，与唐代通使交好的国家多达70多个,那时候的首都长安云集了来自各国的使臣、商人和留学生。这种大交流使中华文化远播世界,也促进了各国文化和物产传入中国。&lt;br /&gt;
 The Tang Dynasty saw dynamic interactions between China and other countries. According to historical documents, th Tang Dynasty exchanged envoys with over 70 countries, and Chang' an, the capital of Tang, bustled with envoys, merchants and students from other countries. 'Exchanges of this magnitude helped the spread of the Chinese culture to the rest of the world and the introduction of the culture and products from other countries into China.&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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1.张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过&amp;quot;丝绸之路&amp;quot;迅速向四周传播。&lt;br /&gt;
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Zhang Qian's mission to the Western regions was to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and The Barbarians, and the civilization of the Central Plains rapidly spread around through the &amp;quot;Silk Road&amp;quot;.&lt;br /&gt;
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2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。&lt;br /&gt;
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Since its opening in the Qin and Han Dynasties, the Maritime Silk Road has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.&lt;br /&gt;
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3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。&lt;br /&gt;
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The influence and change of Chinese ideology and culture brought by the eastward dissemination of Western learning can only be matched by the contention of a hundred schools of thought in Chinese history.&lt;br /&gt;
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4.洋务运动推动了近代中国生产力的发展，促使了中国民族资本主义的产生。&lt;br /&gt;
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Westernization movement advanced the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:47, 26 December 2020 (UTC)&lt;br /&gt;
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1.Zhang Qian's mission to the Western regions was originally to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and the Barbarians, and the civilization of the Central Plains rapidly spread around through the &amp;quot;Silk Road&amp;quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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2.Since the opening of the Maritime Silk Road in Qin and Han Dynasties, it has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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3.In Chinese history, only contention of a hundred schools of thought can match the great influence and change of Chinese ideology and culture caused by the the eastward spreading of western learning.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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4.The Westernization Movement promoted the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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1.&amp;quot;海上丝绸之路&amp;quot;是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。&lt;br /&gt;
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The &amp;quot;South China Sea Silk Road&amp;quot; is also known as the Maritime Cultural Communication Center of China. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋是中国古代规模最大、船只最多（240多艘）、海员最多、时间最久的海上航行，比欧洲国家航海时间早几十年，是明朝强盛的直接体现。&lt;br /&gt;
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Zheng He's voyages to the West were the largest, the largest number of ships (more than 240), the largest number of seafarers and the longest voyages in ancient China. They were decades earlier than those of European countries. They were the direct manifestation of the prosperity of the Ming Dynasty.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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3.明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。&lt;br /&gt;
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During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period. Missionaries not only spread Christian doctrine, but also introduced a lot of science and technology.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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4.洋务运动的最根本的指导思想是&amp;quot;自强&amp;quot;、&amp;quot;求富&amp;quot;。 其分类思想就是&amp;quot;师夷制夷&amp;quot; 、&amp;quot;中体西用&amp;quot; 八个字。前四个字&amp;quot;师夷制夷&amp;quot; 表明洋务运动与外国资本主义侵略者的关系，即学习西方的长技用以抵制西方的侵略。&lt;br /&gt;
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The most fundamental guiding ideology of Westernization Movement is &amp;quot;self strengthening&amp;quot; and &amp;quot;seeking wealth&amp;quot;. Its classification thought is &amp;quot;learning from foreigners, controlling foreigners&amp;quot; and &amp;quot;Chinese style and western use&amp;quot;. The first four words &amp;quot;learning from foreigners and controlling foreigners&amp;quot; indicate the relationship between the Westernization Movement and foreign capitalist invaders, that is, learning from Western long-term skills to resist Western aggression.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。&lt;br /&gt;
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The smooth and prosperous development of the Silk Road in the Tang Dynasty also further accelerated the ideological and cultural exchanges between the East and the West, causing a lot of positive and far-reaching influences on the development of mutual social and national ideologies in the future.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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宋代海上丝绸之路的持续发展，大大增加了朝廷和港市的财政深收入，一定程度上促进了经济发展和城市化生活，也为中外文化交流提供了便利条件。&lt;br /&gt;
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The continuous development of the Maritime Silk Road in the Song Dynasty greatly increased the deep financial income of the imperial court and the port city, promoted the economic development and urban life to a certain extent, and also provided convenient conditions for the cultural exchanges between China and foreign countries.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展，&lt;br /&gt;
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The eastward spread of Western learning brought various new academic achievements of modern Western learning into China, which deeply influenced the development of various academic disciplines. Under such an influence, many disciplines that were not valued or even did not exist in traditional China also developed.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。&lt;br /&gt;
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The total annihilation of the Beiyang Navy in the Sino-Japanese War marked the complete loss of naval power in the Qing Dynasty and the bankruptcy of the 35-year-old Westernization Movement.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
1.公元前123年，张骞随大将军卫青出使匈奴，在他的引导下，平息了多年来北方匈奴对汉王朝的骚扰，张骞因此被封为博望侯。&lt;br /&gt;
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In 123 B. C. , Zhang Qian followed General Wei Qing in a major military raid against the Xiongnu. His guidance led to a number of victories, which succeeded in ending the harassment by the Xiongnu of the Han Dynasty. Zhang Qian was therefore conferred the title of Marquis of Bowang.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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In 123 B.C., Zhang Qian accompanied the great general Wei Qing on a mission to the Xiongnu. Under his guidance, the Xiongnu harassment of the Han dynasty in the north for many years was quelled, and Zhang Qian was thus made the Marquis of Bowang.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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2.郑和的船队由三百艘大船及三万多名水兵组成，船队中最大的一艘船被称为“宝船”，其船身长达133米，船桅多达九根，可搭载一千人。郑和和汉人与穆斯林船员一起打开了中国在非洲、印度及东南亚的贸易航线。&lt;br /&gt;
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Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels, 133-meter-long “treasure ships”, had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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Zheng He's fleet consisted of 300 ships and more than 30,000 sailors, the largest ship in the fleet was called the &amp;quot;treasure ship&amp;quot;, with a hull length of 133 meters and as many as nine masts, which could carry 1,000 people. Zheng He and the Chinese and Muslim crews together opened up Chinese trade routes in Africa, India and Southeast Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels(also called “treasure ships”),133-meter-long ,had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:26, 25 December 2020 (UTC)&lt;br /&gt;
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3.清末时，在“西学东渐”浪潮的冲击下，传统儿童教育踏入近代的门槛。&lt;br /&gt;
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In late Qing dynasty, impacted by the wave of “ The Eastward Spread of Western Learning”, traditional children education stepped into the threshold of modern education. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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At the end of the Qing Dynasty, under the impact of the wave of &amp;quot;Western learning&amp;quot;, traditional children's education entered the threshold of modern times.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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4.西进运动促进了农业、工业、交通业的飞速发展，也促进了美国城市化的进程。&lt;br /&gt;
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The Westernization Movement promoted the rapid devepment of agrilucture, industry, transportation and the urbanization process of the United States as well. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)&lt;br /&gt;
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The westward movement contributed to the rapid development of agriculture, industry, and transportation, as well as to the urbanization of the United States.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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丝绸之路是汉唐千余年间中外经济、文化交流的重要通道，为汉朝的强大，乃至整个中华民族的强大奠定了坚实的基础。&lt;br /&gt;
Silk Road, a significant path of economic and cultural exchanges between China and foreign countries  during the Han and Tang Dynasty, which lasted for over thousand years, laying a solid foundation for greatness of the Han Dynasty, and even that of the whole Chinese nation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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回望历史，浩浩荡荡，郑和七下西洋堪称中国“海上丝绸之路”最壮丽的诗篇，也是人类航海史第一个高峰。&lt;br /&gt;
Looking back at the history, Zheng He’s seven voyages to the wast was the most magnificent poem of China’s “Maritime Silk Road”, as well as the first peak in the history of human navigation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。&lt;br /&gt;
After the Opium War, their basic idea was to understand the situation of foreigners and &amp;quot;learn from the advanced technologies in the West in order to resist the invasion of the Western powers.”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
Westernization Movement, also known as self-improvement movement, was a self-saving movement that westernization school in the late Qing Dynasty introduced western military equipments, machine production, science and technology to save the rule of Qing Dynasty from 1860s to 1990s.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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1. 丝绸之路全长约7000公里，经由这条线路所进行的贸易中，中国的丝绸最具代表性，因此得名“丝绸之路”。&lt;br /&gt;
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The total length of the silk road is about 7000 km. Among the trade carried out along this route, China's silk is the most representative, so it is named the &amp;quot;Silk Road&amp;quot;. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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2. 在中国，作为国家的政治任务，郑和下西洋对于中国的经济的刺激作用微乎其微。而在西方，东方的商品和航海贸易的利润直接加速了资本主义的原始积累。&lt;br /&gt;
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In China, as a national political task, Zheng He's Voyages had little stimulating effect on China's economy. However, in the west, the profits from the eastern commodity and maritime trade directly accelerated the primitive accumulation of capitalism. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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3. 甲午战争以后，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。&lt;br /&gt;
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After the Sino-Japanese War of 1894-1895,  many people with breadth of vision began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared. They learned a lot from the West about natural science and social science, and demanded political reform. During this period, a large amount of Western knowledge was introduced into China, and its influence was very extensive. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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4. 洋务运动前期，洋务派以“自强”为旗号，采用西方先进生产技术，创办了一批近代军事工业。&lt;br /&gt;
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In the early stage of Westernization Movement, the School of Westernization established a number of modern military industries under the banner of &amp;quot;self-improvement&amp;quot; and adopting advanced western production technology. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)&lt;br /&gt;
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In the early stage of Westernization Movement, under the banner of &amp;quot;self-improvement&amp;quot;,the School of Westernization adopted advanced western production technology and established a number of modern military industries.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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1. 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。&lt;br /&gt;
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The overland Silk Road originated in the Western Han Dynasty (202-8 years ago). Emperor Wu of the Han Dynasty sent Zhang Qian to the Western Regions to open up an overland route starting from the capital Chang'an (now Xi'an), passing through Gansu and Xinjiang, to Central and West Asia, and connecting Mediterranean countries. &lt;br /&gt;
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2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险&lt;br /&gt;
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Zheng He's voyage to the West was the largest sea voyage in ancient China with the largest number of ships and sailors and the longest time. It was also the largest series of sea explorations in world history before the voyage of the great geographical discovery in Europe at the end of the 15th century.&lt;br /&gt;
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3. 尽管如此，纵观中国近代西学东渐的历史,它的成就是巨大的。虽然经历了由表及里、由浅入深的艰难探索和吸收过程,但毕竟使中国的近代化历程大大加速,客观上加快了清王朝灭亡的脚步,为中国早日推翻一个旧世界,建立一个新世界奠定了基础。但墨守成规、亦步亦趋的学习心理使中国的每一步学习都事倍功半,成效大打折扣.学习中的'一边倒'现象和盲目照搬现象使中国的西学东渐走了许多弯路,学习中的'急功近利'思想也是造成西学东渐成效甚微的重要原因。&lt;br /&gt;
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In spite of this, looking at the history of the spread of western learning to the east in modern China, its achievements are huge. Although it has gone through a difficult process of exploration and absorption from the outside to the inside and from the shallow to the deep, it has greatly accelerated China's modernization process, objectively accelerated the pace of the demise of the Qing Dynasty, and laid a foundation for China to overthrow an old world and establish a new world as soon as possible. However, the learning psychology of sticking to the rules and following the same trend makes every step of China's learning get twice the result with half the effort and the effect is greatly reduced. The phenomenon of &amp;quot;one-sided&amp;quot; and blind copying in learning have led to many detours in the spread of western learning to the east in China, and the thought of &amp;quot;eager for quick success and instant benefits&amp;quot; in learning is also an important reason for the little effect of the spread of western learning to the east.&lt;br /&gt;
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4. 洋务运动后期，洋务派为解决军事工业资金、燃料、运输等方面的困难，打出“求富”的旗号，兴办了一批民用工业。&lt;br /&gt;
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In the late period of the Westernization Movement, in order to solve the difficulties in capital, fuel and transportation of military industry, the Westernization Movement set up a number of civilian industries under the banner of &amp;quot;seeking wealth&amp;quot;.&lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 03:18, 28 December 2020 (UTC) Zhang Weihong&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
1.通过张骞的外交实践，构建了汉朝与西方国家友好交往的桥梁，促进了东西方文化、经济的交流和发展，为中国汉代昌盛和后世的对外开放奠定了坚实的基础。&lt;br /&gt;
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Through Zhang Qian's diplomatic practice, he built a bridge of friendly relations between the Han Dynasty and the West, promoting cultural and economic exchanges and development between the East and the West, and laying a solid foundation for the prosperity of the Han Dynasty and the opening up of China to the outside world in later generations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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2.郑和下西洋折射出的中国先进航海科技光辉，表现了中国古代人的伟大智慧，从而创造了郑和下西洋的伟大航程。&lt;br /&gt;
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Zheng He's voyage to the West reflected the glory of China's advanced navigation technology and demonstrated the great wisdom of ancient Chinese people, thus creating the great voyage of Zheng He to the West.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
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The Eastward Spread of Western learning refers to the historical process of the spread of Western academic thoughts to China from the end of the Ming Dynasty to modern times.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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4.甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。&lt;br /&gt;
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In the Sino-Japanese War of the First Sino-Japanese War, the Beiyang Navy was wiped out, marking the complete loss of the Qing Dynasty's naval power and the bankruptcy of the 35-year Westernization Movement.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
1.东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。&lt;br /&gt;
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The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk produced in ancient China.&lt;br /&gt;
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2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&amp;quot;海上陶瓷之路&amp;quot;和“海上香料之路”&lt;br /&gt;
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The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the &amp;quot;Maritime Ceramic Road&amp;quot; and the &amp;quot;Sea Spice Road&amp;quot;.&lt;br /&gt;
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3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
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The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times.&lt;br /&gt;
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4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
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The Westernization Movement, also known as the self-improvement movement. It was a self-rescue movement carried out by the Westernization School in the late Qing Dynasty from the 1860s to the 1990s to bring in Western military equipment, machine production, and science and technology to save the Qing Dynasty.&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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1. 张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过“丝绸之路”迅速向四周传播。&lt;br /&gt;
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Zhang Wei out of the Western Region to carry out the Han Wu Emperor United Moon's strategic intention to fight against the Hunnu, but out of the Western Region after the Hanyi cultural exchanges frequent, the Central Plains civilization through the &amp;quot;Silk Road&amp;quot; spread rapidly around.&lt;br /&gt;
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2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。&lt;br /&gt;
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Zheng He's Voyage to the West Was the largest, largest and longest maritime voyage in ancient China, and the largest series of maritime expeditions in the history of the world before the great geographical discovery of Europe at the end of the 15th century.&lt;br /&gt;
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3. 在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们（较晚亦有方济各会、多明我会等的教士），在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。&lt;br /&gt;
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Missionaries played a very important role in a wave of Western studies in the late Ming and early Qing years, when the missionaries, mainly Catholic Jesuits (later franciscans, polyseigns, etc.), introduced Western scientific and technological academic ideas and translated a large number of Western academic books while trying to introduce Catholicism to China.&lt;br /&gt;
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4. 甲午战争的结果给中华民族带来空前严重的民族危机，大大加深了中国社会半殖民地化的程度；另一方面则使日本国力更为强大，为其跻身列强奠定了重要基础。&lt;br /&gt;
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The result of the Sino-Japanese War brought unprecedented serious national crisis to the Chinese nation, which greatly deepened the degree of semi-colonization of Chinese society, and on the other hand, made Japan stronger and laid an important foundation for its ranks among the great power.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:22, 26 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
1.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线。&lt;br /&gt;
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Silk Road refers to the ancient land trade route which started in the ancient China and connected Asia, Africa and Europe.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)&lt;br /&gt;
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Silk Road refers to the ancient land trade route which originated from ancient China and connected Asia, Africa and Europe.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
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2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。&lt;br /&gt;
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Maritime Silk Road is the sea-lane by through which ancient China traded and did cultural exchanges with other countries. This Silk Road is mainly centered with the South China Sea, thus is called the South China Sea Silk Road as well. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)&lt;br /&gt;
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Maritime Silk Road is the sea route through which ancient China traded and did cultural exchanges with foreign countries. This Silk Road centered on the South China Sea, thus being called the South China Sea Silk Road as well.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
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3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。&lt;br /&gt;
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Eastward Spread of Western Learning refers to the historic process of the spread of western academic thought to China from the end of Ming Dynasty and the modern times.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC) &lt;br /&gt;
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Eastward Spread of Western Learning refers to the historic course of the spread of western academic thought to China from the end of Ming Dynasty to the modern times.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。&lt;br /&gt;
&lt;br /&gt;
Westernization Movement, also known as Self-strengthening Movement, is a self-helping movement carried out by the late Qing dynasty in the 1860s and 1990s to introduce Western military equipment, machine production and science and technology to save the Qing dynasty.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Westernization Movement, also known as Self-strengthening Movement, was a self-helping movement carried out by the westernization group of the late Qing dynasty from the 1860s to 1990s for introducing Western military equipment, machine production and science and technology to China to save the Qing government.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
&lt;br /&gt;
1.张骞到大宛后，向大宛国王说明了自己出使月氏的使命和沿途种种遭遇，希望大宛能派人相送，并表示今后如能返回汉朝，一定奏明汉皇，送他很多财物，重重酬谢。大宛王本来早就风闻东方汉朝的富庶，很想与汉朝通使往来，但苦于匈奴的中梗阻碍，未能实现。汉使的意外到来，使他非常高兴。&lt;br /&gt;
&lt;br /&gt;
After arriving in Dayuan, Zhang Qian explained to the king of Dawan his mission and experiences along the way, and hoped that Dawan could send men to escort him to the  Darouzhi. He also said that if he could return to the Han Dynasty in the future, he would tell the emperor of Han and implore him to send a lot of wealth and rewards to the The the king of Dawan. The King of Dawan had long heard of the wealth of the Han Dynasty and wanted to communicate with Han, but he failed to do so because of the hindrance from the Xiongnu. The unexpected arrival of han Emissary made him very happy.&lt;br /&gt;
&lt;br /&gt;
2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。&lt;br /&gt;
&lt;br /&gt;
Zheng He's expeditions were the largest in ancient China, with the largest number of ships and sailors and the longest time. They were also the largest series of maritime expeditions in the history of the world before the voyages of European geographical discoveries at the end of the 15th century.&lt;br /&gt;
&lt;br /&gt;
3.此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。&lt;br /&gt;
&lt;br /&gt;
At this time, western science and technology began to develop rapidly, while the development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time. Missionaries spread the Christian doctrine, but also spread a lot of science and technology.&lt;br /&gt;
&lt;br /&gt;
4.为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。&lt;br /&gt;
&lt;br /&gt;
In order to relieve domestic troubles and foreign invasion, enrich the country and strengthen the army to maintain the rule of Qing dynasty, some people began to learn Western culture and advanced technology, so they were called westernization Group.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 27 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
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不仅是中国与这些国家进行交流，通过丝路，印度、东南亚、中东、非洲和欧洲之间的贸易交流也迅速活跃起来。&lt;br /&gt;
&lt;br /&gt;
The Silk Road not only deepen exchanges between China and these countries, but also gave an impetus to trades between India, Southeast Asia, the Middle East, Africa and Europe.&lt;br /&gt;
&lt;br /&gt;
郑和下西洋的路线，被称为海上丝绸之路，那是一条向往陌生的海岸线的开放之路。 &lt;br /&gt;
&lt;br /&gt;
The sailing routes of Zheng He, also known as the Maritime Silk Road, was an open road symbolizing people's aspiration to unfamiliar coastlines.&lt;br /&gt;
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明末清初,西方传教士来华传教,掀起了西学东渐的第一次高潮。&lt;br /&gt;
&lt;br /&gt;
In the late Ming and early Qing dynasty, lots of western missionaries came to China , which brought the first upsurge of the Eastward spread of Western learning.&lt;br /&gt;
&lt;br /&gt;
洋务运动的主要人物具有典型性和代表性的是张之洞和李鸿章。&lt;br /&gt;
&lt;br /&gt;
The main figures of the Westernization Movement are Zhang Zhidong and Li Hongzhang.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:06, 28 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
1.唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。&lt;br /&gt;
&lt;br /&gt;
The prosperous Silk Road in the Tang dynasty also further promoted the exchange of thoughts and cultures between the east and the west, and had a lot of positive and far-reaching effects on the later development of both side’s social and national ideologies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
2.欧洲人相继进行全球性海上扩张活动，特别是地理大发现，开启了大航海时代，开辟了世界性海洋贸易新时代。西欧商人的海上扩张，改变了传统海上丝绸之路以和平贸易为基调的特性，商业活动常常伴随着战争硝烟和武装抢劫。&lt;br /&gt;
&lt;br /&gt;
The European maritime expansion around the world, especially the discovery of the Age of Discovery, ushered in a new era of world trade in the oceans. The maritime expansion of western european merchants, often accompanied by war and armed robbery, changed the traditional sea route of Silk Road of peaceful trade.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展,但许多传统的学术受到西学的冲击。&lt;br /&gt;
&lt;br /&gt;
The Eastward Spread of Western Learning brought to China various new academic achievements in modern times, deeply affecting the development of various academic disciplines. Many subjects which were not valued or even did not exist in traditional China were also developed under this influence. On the contrary many traditional academies have been impacted by Western academies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.洋务运动是近代教育的开端。要开始洋务运动，兴办洋务就必须要有精通洋务的人才，但是中国传统的科举制教育却远远无法满足洋务运动对人才的需要。因此兴办新式学堂，派遣留学生，就成了洋务运动进行下去的一项重要的举措。&lt;br /&gt;
&lt;br /&gt;
Westernization Movement was the beginning of modern education. In order to start the Westernization Movement, it is necessary to have people who are proficient in Westernization, but the traditional imperial examination system in China can not meet the needs of the Westernization Movement. Therefore, the establishment of new schools and the dispatch of foreign students has become an important initiative of the Westernization Movement.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
==Zubareva, Ekaterina==&lt;br /&gt;
&lt;br /&gt;
1.Today, Zhang Qian's travels are associated with the major route of transcontinental trade, the Silk Road. His missions opened trade routes between East and West and exposed different products and kingdoms to each other through trade.&lt;br /&gt;
&lt;br /&gt;
今天，张谦的旅行与跨大陆贸易的主要路线“丝绸之路”相关。 他的任务打开了东西方之间的贸易路线，并通过贸易使不同的产品和王国相互接触。 --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.Zheng He generally sought to attain his goals through diplomacy, and his large army awed most would-be enemies into submission. However, a contemporary reported that Zheng He &amp;quot;walked like a tiger&amp;quot; and did not shrink from violence when he considered it necessary to impress foreign peoples with China's military might.&lt;br /&gt;
&lt;br /&gt;
郑和通常试图通过外交来实现自己的目标，他的大部队敬畏大多数可能成为敌人的敌人。 然而，当代报道说，郑和“走得像老虎一样”，当他认为有必要用中国的军事力量打动外国人民时，并没有因为暴力而退缩。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.With the Jesuits coming to China to preach, the historical event of the introduction of Western science and technology into China was called the first wave of the introduction of Western learning to the East.&lt;br /&gt;
&lt;br /&gt;
随着耶稣会士来到中国讲道，西方科学技术传入中国的历史性事件被称为第一波西方知识向东方传入的浪潮。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones into its division of labour.&lt;br /&gt;
&lt;br /&gt;
到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在将其他主要的新地区纳入其劳动分工中。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118923</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118923"/>
		<updated>2020-12-21T15:46:27Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Descriptive translation studies	曹润鑫	Cao Runxin */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing 英语笔译 202070080581==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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===key words===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but this does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, have not been covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. &lt;br /&gt;
&lt;br /&gt;
During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. &lt;br /&gt;
&lt;br /&gt;
The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures.Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language.&lt;br /&gt;
&lt;br /&gt;
In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
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Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis.That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. &lt;br /&gt;
&lt;br /&gt;
Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
&lt;br /&gt;
For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which is direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word, which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example,“Take care. Hope to see you soon.” is  polite and emotional way to express our feelin .&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translator's mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have to consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore,proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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It is obvious that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese people often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but trasnslators have to choose one based on the context. &lt;br /&gt;
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“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, translators need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics and reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
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Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
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Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. &lt;br /&gt;
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According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:30, 21 December 2020 (UTC)&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
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The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the earliest translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
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===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the first, second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
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This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.&lt;br /&gt;
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Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, style and culture.（Zhou Xingyang,2018:11）&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,''Toward a Science of Translating''. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.（Zhao Dandan,2011:1）&lt;br /&gt;
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In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.（Nida,2004:24）&lt;br /&gt;
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Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book ''Language, Culture and Translation'', Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the response of the reader of the recipient language, and(3) the receptor language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader’s reaction to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber point out that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: words, sentences and passages, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of ''Folding Beijing'' from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of ''Folding Beijing'', there are many examples of how the translation can achieve functional equivalence with the original text at the lexical level, as follows: (Ding Juan, 2011:22)&lt;br /&gt;
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Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
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&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention and conveys what appears to be a bad temper.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.&lt;br /&gt;
&lt;br /&gt;
=====2.1.2 Syntactic Level=====&lt;br /&gt;
&lt;br /&gt;
Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese.（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress.（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a appropriate form. The following are examples of how the English translation of ''Folding Beijing'' achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
We can see that in the translation of this passage, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the translator have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
&lt;br /&gt;
“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
&lt;br /&gt;
In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using a subordinate clause like &amp;quot;...childhood that...&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
&lt;br /&gt;
=====2.1.3 Discourse level=====&lt;br /&gt;
&lt;br /&gt;
Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in terms of discourse level. A dialogue from ''Folding Beijing'' and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Din Juan,2011:27）&lt;br /&gt;
&lt;br /&gt;
“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
&lt;br /&gt;
老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
&lt;br /&gt;
“可是这等于我也得撒谎。”&lt;br /&gt;
&lt;br /&gt;
依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
&lt;br /&gt;
Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translating. The form of the dialogue is not exactly translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.&lt;br /&gt;
&lt;br /&gt;
====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
&lt;br /&gt;
Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
=====2.2.1 Rhetoric=====&lt;br /&gt;
&lt;br /&gt;
Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle and he just use the word &amp;quot;monster&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Dialects=====&lt;br /&gt;
&lt;br /&gt;
The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem.（Din Juan,2011:33）&lt;br /&gt;
&lt;br /&gt;
For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
&lt;br /&gt;
In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.&lt;br /&gt;
&lt;br /&gt;
====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
&lt;br /&gt;
Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of ''Folding Beijing'' from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)&lt;br /&gt;
&lt;br /&gt;
=====2.3.1 Food Culture=====&lt;br /&gt;
&lt;br /&gt;
The city described in ''Folding Beijing'' is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator captures this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）&lt;br /&gt;
&lt;br /&gt;
=====2.3.2 Folk Culture=====&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is one of the major characteristics of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word to make it easy for readers to understand.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.&lt;br /&gt;
&lt;br /&gt;
=====2.3.3 Culture of Idioms=====&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
&lt;br /&gt;
The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;ate heartily&amp;quot;. Although the translation is easy to understand, but without the image that people are very hungry to eat, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot; is translated as &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; is translated as &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he kept the secret and that Yi Yan and Qin Tian might be together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of ''Folding Beijing'' from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of ''Folding Beijing'' to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
&lt;br /&gt;
Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
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==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni  202070080620 MTI英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni MTI 英语笔译 No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
&lt;br /&gt;
American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
&lt;br /&gt;
The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
&lt;br /&gt;
In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
&lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
&lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
 &lt;br /&gt;
Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
&lt;br /&gt;
Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
&lt;br /&gt;
Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
&lt;br /&gt;
Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
&lt;br /&gt;
From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
&lt;br /&gt;
Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
&lt;br /&gt;
It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
&lt;br /&gt;
In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
&lt;br /&gt;
In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
&lt;br /&gt;
======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
&lt;br /&gt;
 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
&lt;br /&gt;
In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
&lt;br /&gt;
 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
&lt;br /&gt;
An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
&lt;br /&gt;
======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
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Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:51, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation, 韩宛真 Han Wanzhen, 英语语言文学==	&lt;br /&gt;
&amp;lt;center&amp;gt;Han Wanzhen 韩宛真, 202020080603.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this chapter summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and  knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
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===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
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The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicit), which means that the speaker actually wants to express the meaning: the second is the explicit, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
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Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understanding:the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
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The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
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The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
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===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
&lt;br /&gt;
Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
&lt;br /&gt;
===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this chapter, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:27, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures ==&lt;br /&gt;
    陈佳欣	Chen Jiaxin 202020080593 英语语言文学&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time, until they entered China along trade routes from Central Asia in the first century AD.&lt;br /&gt;
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Buddhism is widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the similarity in form and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation(Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three periods. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposes that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposes to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang holds that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He translated 35 Buddhist Scriptures in total, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “Transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, was a Buddhist scripture translator during the Three Kingdoms period. He was the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignoring the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The dominant translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures.&lt;br /&gt;
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On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore they can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
&lt;br /&gt;
====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he was also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He was one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translated 39 volumes. He was proficient in both Chinese and Sanskrit languages, and advocated that as long as the translation does not violate the original meaning, there is no need to follow the original form. &lt;br /&gt;
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“Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of Indian Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25).&lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness.&lt;br /&gt;
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Another remarkable achievement is his contribution to the translation workshop. After he arrived at Chang'an, he began to organize translation workshops.With his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads) were usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China, translators could take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there were more Sanskrit texts, they had more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, and metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age was Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses. The number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators were mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also had a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who were proficient in Sanskrit has gradually increased, and the translation work did not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty was more all-sided in organization. “According to records, the translation workshop of the Tang Dynasty had as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them were rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts were more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believed that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese was mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
&lt;br /&gt;
By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
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The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
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Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
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Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
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Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
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Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
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Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
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Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
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WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:11, 21 December 2020 (UTC)&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi ==&lt;br /&gt;
&amp;lt;center&amp;gt;成于思	Cheng Yusi No.202020080598 比较文学与跨文化研究&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the chapter is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the chapter will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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André Lefevere; ''Translation History and Culture: A Sourcebook''; Liu Miqing; ''A Comparative Study of Chinese and Western Translation Principles''; “cultural turn”; John Dryden; translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This chapter presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, the chapter intends to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This chapter will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, paraphrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. Dryden's comparison of a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
&lt;br /&gt;
===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements, which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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I enjoy reading this book because it brings those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;an author and a translator&amp;quot; to &amp;quot;a master and a slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracts two statements by Dryden and relatively places them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracts an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposes three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposes a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argues that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compares a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars, like Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) &lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works were with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
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About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
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===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
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In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
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Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
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The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
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He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
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The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
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Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
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Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
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The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognizes that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School and New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
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Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot;, and he gives his reasons: first, the lack of compass of theories which can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current superficial, assertive and rational views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
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The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
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Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulated that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
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Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation principles that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the feature of the tradition of Chinese translation changes from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
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As such, the flourishing of translation is bound to be our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
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The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
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The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
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The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
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Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
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Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
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Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argues that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provides a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
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===4. Comparison between the books of ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. ''Translation, History and Culture: A Sourcebook'' collects texts that are concerned with ideology, power of patronage, poetic nature and other cultural elements that have an impact on translation. As to the book of ''A Comparative Study of Chinese and Western Translation Principles'', it zeros in on the comparison of the Chinese translation principles to the Western ones. On the one hand, it draws the Western translation principles closer to us so that we can learn the good points; on the other hand, it places our Chinese translation principles at a distance to help us judge them in an objective way. Liu Miqing mentions that through a full analysis of the &amp;quot;being-in-itself&amp;quot; Chinese theories, we could find out the weak points that hinder them in their way to &amp;quot;being-for-itself&amp;quot;. (Liu Miqing 2005. 72). &lt;br /&gt;
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These two books differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
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Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
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===4.2 From the aspect of the arrangement===&lt;br /&gt;
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Both of these two books are arranged in theme rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters, which are concerned with the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. As to the longer essays, they are collected in the last chapter. &lt;br /&gt;
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Liu arranges his book differently. Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includs the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which helps readers understanding translation principles.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In conclusion, the paper intends to help readers to have better understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of a translator to a slave. Then, it figures out the reasons of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 12:08, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
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André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
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Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
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Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
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Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
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Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
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Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
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Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
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Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
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Ancient Translation Period&lt;br /&gt;
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The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
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Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）&lt;br /&gt;
Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
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A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
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(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
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Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
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Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
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Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
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===Analysis of Theoretical Research Status===&lt;br /&gt;
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Descriptive Analysis of Translation Theory Research&lt;br /&gt;
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First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
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The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
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First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
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Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
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===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
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Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645 MTI 英语口译==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.（Venuti，1995）&lt;br /&gt;
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Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku,2011）&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku,2011）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words.（Zhang le 2017，37）&lt;br /&gt;
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[Take Chinese and English for example ,the word “落汤鸡”can not be translated as “soup chicken”,in literal, as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain, but in England ,a country with developed industry, people are no longer farming ,so it may be hard for them to understand as they have not seen it before, instead ,the familiar thing they can image is the drowned mouse ,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily, after the rain ,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
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To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
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Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just in the  south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou 苏州(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan 银川(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
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For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
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For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* wenku.(2011).翻译中的归化异化.&amp;quot;Domestication and Foreignization in Translation&amp;quot; .https://wenku.baidu.com/view/a63459ee81c758f5f61f67e0.html.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:28, 20 December 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recording two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) &lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. &lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） &lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei etc. (Yi Jing,2009)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
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'''3.2.2 The awareness of an independent discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )&lt;br /&gt;
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Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) &lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
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Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
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Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 &lt;br /&gt;
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The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
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Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)&lt;br /&gt;
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The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )&lt;br /&gt;
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4.4.2 Discipline structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)&lt;br /&gt;
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From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.&lt;br /&gt;
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Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.&lt;br /&gt;
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Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''&lt;br /&gt;
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Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.&lt;br /&gt;
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Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.&lt;br /&gt;
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Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.&lt;br /&gt;
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Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp;amp; Arts] 35-41.&lt;br /&gt;
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Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].&lt;br /&gt;
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Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.&lt;br /&gt;
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Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.&lt;br /&gt;
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Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.&lt;br /&gt;
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Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.&lt;br /&gt;
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Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.&lt;br /&gt;
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O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.&lt;br /&gt;
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Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
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Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
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Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
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Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
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Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
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Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].&lt;br /&gt;
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Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.&lt;br /&gt;
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Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
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Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.&lt;br /&gt;
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Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
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Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658,外国语言学及应用语言学 Foreign Linguistics and Applied Linguistics==&lt;br /&gt;
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&amp;lt;center&amp;gt;许晶Xu Jing  202020080658&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
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With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Translation Studies, translation education, translation talents&lt;br /&gt;
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==='''题目'''===&lt;br /&gt;
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对中国翻译学学习的反思&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。&lt;br /&gt;
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==='''关键词'''=== &lt;br /&gt;
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翻译学，翻译教育，翻译人才&lt;br /&gt;
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==='''1. Introduction'''===&lt;br /&gt;
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1.1. The Connotation of Translation Studies&lt;br /&gt;
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Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
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Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
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Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
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Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
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1.2. The Significance of Translation Studies&lt;br /&gt;
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With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
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As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
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Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
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==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
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Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.&lt;br /&gt;
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2.1. The Exploration Period of Translation Studies &lt;br /&gt;
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In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
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The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.&lt;br /&gt;
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However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, as well as translation criticism, translation publishing, and translation management, etc.&lt;br /&gt;
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At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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2.2. The Development Period of Translation Studies &lt;br /&gt;
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At the beginning of this period, translation studies explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge. Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)&lt;br /&gt;
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2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
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In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers should help students to acquire the industry knowledge, technology, skills and accomplishments that required by the language service market. Teachers can invite industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
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3.1. Translation Education &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018）&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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In addition, due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)&lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019）&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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3.2.2. Insufficient background knowledge &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information.&lt;br /&gt;
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With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
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3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
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==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.&lt;br /&gt;
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4.1. Translation Education&lt;br /&gt;
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Translation education plays an important role in cultivating translation talents, and a good translation education system will provide a good environment for students to learn Translation Studies, so it is necessary to improve translation education system.&lt;br /&gt;
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4.1.1. Improve Teaching Mode&lt;br /&gt;
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The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019)&lt;br /&gt;
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4.1.2. Strengthen Faculty Force&lt;br /&gt;
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Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019）&lt;br /&gt;
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Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
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4.1.3. Broaden the academic vision of translation&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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4.2. Students &lt;br /&gt;
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Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
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4.2.1. Expanding knowledge&lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
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Students must spend enough time in practicing. They can take part in many social activities to experience different aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
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From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 15:23, 20 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.&lt;br /&gt;
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Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.&lt;br /&gt;
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Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].&lt;br /&gt;
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Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.&lt;br /&gt;
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Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.&lt;br /&gt;
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Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. &lt;br /&gt;
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&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on domestication strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
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====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;The highest art can only be understood by a few&amp;quot;, &amp;quot;Art has its own many grades, so the appreciation of art also has many grades. &amp;quot;. (Liang Shiqiu: R.O.C. 23) &lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
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====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously&lt;br /&gt;
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In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
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Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
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When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Irving Babbitt, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
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====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.&lt;br /&gt;
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For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
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EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
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伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
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This man hath my consent to marry her．&lt;br /&gt;
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是我答应把我女儿嫁给他的&lt;br /&gt;
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Stand forth，Lysander．&lt;br /&gt;
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走上前来，拉山德。&lt;br /&gt;
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And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
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殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
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In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
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拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
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否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
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Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
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First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
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LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
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Translation of Liang Shiqiu:&lt;br /&gt;
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赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
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否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
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HELENA She was a vixen when she went toschool: &lt;br /&gt;
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And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
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海 上学时她就是个狐狸精。&lt;br /&gt;
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她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
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Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
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Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
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For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
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Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
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Liang’s version :&lt;br /&gt;
&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
&lt;br /&gt;
For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
&lt;br /&gt;
By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
&lt;br /&gt;
Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
 &lt;br /&gt;
Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
          &lt;br /&gt;
Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
&lt;br /&gt;
Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
  &lt;br /&gt;
Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
&lt;br /&gt;
Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
&lt;br /&gt;
Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
&lt;br /&gt;
Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&amp;lt;center&amp;gt;曹润鑫 Cao Runxin 202070080634 英语口译&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
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Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Toury and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
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In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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According to Toury, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
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Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
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Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
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Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
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Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
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Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
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Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
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Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
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Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
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Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
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==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，使读者深刻理解描写性翻译研究的地位。&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
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He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
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====2.4 Polysystem Theory====&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem(多元体系派) is not satisfied with the achievements made by the translation studies(翻译研究派). It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
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====2.5 Gideon Toury&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
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====2.6 Snell-Hornby&lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
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===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
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====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
    &lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
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Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
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(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
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(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
&lt;br /&gt;
The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
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First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory is undoubtedly meaningful and instructive, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
&lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
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Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
&lt;br /&gt;
====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
&lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
&lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Reference===&lt;br /&gt;
&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
&lt;br /&gt;
J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby. (1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满, Liu Fang 刘芳. (2005). 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究：从规范走向描写[Translation Studies: From the Prescriptive to the Descriptive Approach]. 中国翻译[Chinese Translation  Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. (2008). 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰. (2002). 多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
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==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
 &lt;br /&gt;
Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
===Abstract ===   &lt;br /&gt;
&lt;br /&gt;
Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
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Key words: translation strategies and translational problems.&lt;br /&gt;
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This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
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===Content===&lt;br /&gt;
&lt;br /&gt;
Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
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The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
&lt;br /&gt;
Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
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As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
&lt;br /&gt;
Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
&lt;br /&gt;
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However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
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===References===&lt;br /&gt;
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Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;br /&gt;
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== The Comparison of Machine Translation and Human Translation from the Perspective of Skopos Theory---A Case Study of E-C Translation of ''A Tale of Two Cities'' as an example - 欧阳静兰 OuYang Jinglan 202020080630==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;欧阳静兰 OuYang Jinglan &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid development of globalization and the Internet, international communication is expanding, and a lot of information needs to be translated. Due to the low efficiency of human translation, machine translation is indispensable today. However, due to the limitations of machine translation, the quality of machine translation is still worrying. Therefore, from the perspective of Skopos theory, this paper takes the E-C translation of ''A Tale of Two Cities'' as an example to analyze the machine translation of Google translation and Baidu translation, and compare it with the translation of Song Zhaolin, so as to explore the characteristics of machine translation and human translation, try to discuss the irreplaceable nature of human translation, and discuss how to combine machine translation with human translation to improve the quality and efficiency of translation. This paper is divided into five parts: the first part introduces the background of the current translation environment; the second part introduces Skopos Theory and discusses the feasibility of Skopos Theory in analyzing machine translation and human translation; the third part introduces the advantages and disadvantages of machine translation and human translation, and discusses the relationship between them; the fourth part is a case study to see machine translation from the perspective of Skopos theory Compared with manual translation, it is concluded that machine translation and manual translation must be combined to improve the efficiency and quality of translation. The fifth part is a summary of this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Skopos Theory, machine translation, human translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
目的论视角下机器翻译和人工翻译的对比---以《双城记》的英汉翻译为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着全球化和互联网的迅速发展，国际的交流日益扩大，大量信息需要翻译。由于人工翻译效率低下，在越来越强调效率和质量的今天，机器翻译必不可少。然而，由于机器翻译的局限性，机器翻译的质量仍然堪忧。因此,本文以目的论视角, 以《双城记》的英汉翻译为例，分析谷歌翻译和百度翻译的机器译文, 与宋兆霖版本的中文译本对比，由此探析机器翻译与人工翻译的特点,尝试论述人工翻译的不可替代性, 并讨论如何将机器翻译与人工翻译结合提高翻译的质量和效率。本文分为五个部分，第一部分对当前翻译环境背景的介绍；第二部分对目的论进行简介，并讨论目的论用于分析机器翻译和人工翻译的可行性；第三部分介绍机器翻译和人工翻译的优缺点，并讨论他们之间的关系；第四部分进行案例分析，从目的论视角下看机器翻译与人工翻译的对比，得出提高翻译效率与质量必须将机器翻译与人工翻译相结合。第五部分对全文进行总结。&lt;br /&gt;
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===关键词===&lt;br /&gt;
目的论 机器翻译 人工翻译 &lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
With the development of globalization, the growth of Internet and artificial intelligence, machine translation becomes an indispensable choice in today’s society. Compared with human translation, machine translation has the advantages of efficiency. As the traditional translation method, human translation can guarantee the accuracy of the text. In this information era, many people are thinking whether human translation will be replaced by machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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In September 2016, Google released the neural network translation system, which greatly improved the quality of machine translation. In November, Baidu CEO Robin Li stated at the Wuzhen Summit of the 3rd World Internet Conference that Baidu's artificial intelligence product &amp;quot;automatic translation&amp;quot; will enter a practical state. Therefore, this paper will put the original text of Tale of Two Cities in two representative public machine translation engines at home and abroad, &amp;quot;Google&amp;quot; and &amp;quot;Baidu&amp;quot;, to obtain the machine translation. Selecting texts from the famous classical novel ''A Tale of Two Cities'', and comparing machine translations and human translations based on this novel from the perspective of Skopos theory, this paper aims to investigate the relationship between human translation and machine translation and their developments in the future.  (Hu Kaibao 2016, 10)&lt;br /&gt;
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=== 2. Overview of Skopos Theory ===&lt;br /&gt;
In the 1970s, some eminent German translation theory scholars first proposed functional translation theory. Translation theorist Katharina Reiss divides text into three types: informative, expressive and operational. She suggested that according to different text types, different translation methods should be used for analysis, and different translation criticism standards should be adopted, that is, text types, language functions and translation strategies should be combined. In the translation process, it’s essential to focus on the functional characteristics of the target text. Her text type theory and translation criticism mode can be regarded as the beginning of functionalist Skopos theory. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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Hans Vermeer is Reiss's student. He further developed Reiss's theory and proposed Skopos theory. He believed that Skopos theory is based on the source text, and then may produce a series of purposeful and effective behaviors. The core of this theory is that &amp;quot;the purpose of translation determines translation strategies and method to achieve the expected purpose of translation&amp;quot; (Reiss &amp;amp; Vermeer 1984), and German scholars Justa Holz Manttari and Christian Nord further developed this theory which based on the theory of communication and behavior, and they  proposed that translation theory is not a simple translation between words and sentences, but a kind of conscious behavior for the purpose of cultural communication. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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====2.1 Three Rules of Skopos Theory====&lt;br /&gt;
The word “Skopos” is originated from the Greek language and means &amp;quot;purpose&amp;quot;. Skopos theory refers to the process of translation is determined by the purpose of the translation, so the purpose rule is the highest one of translation. Generally speaking, skopos theory includes three principles: Skopos rule, coherence rule (intra-textual coherence) and fidelity rule (also known as &amp;quot;inter-textual coherence&amp;quot;). (Nord 2001, 20)&lt;br /&gt;
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Skopos theory believes that the important principle to be followed is the &amp;quot;purpose&amp;quot; rule, it is the core rule of Skopos Theory: the process of translation should be based on the realization of the communicative function in the target language culture, and the goal to be achieved determines the entire process of translation, that is, the method determines the result. Vermeer differentiated the purpose of translation. He believes that the purpose of translation should include three levels: the purpose of the translator; the purpose of communication; the purpose of specific translation strategies. In most cases, a translator has a certain purpose before translation, such as being entrusted by a translation company, market demand or the need to introduce a technology. In most cases, &amp;quot;purpose&amp;quot; refers to the communicative purpose of translation. Under the guidance of the purpose of communication, the translator can have more space to interpret and adjust the original text. (Nord 2001, 78)&lt;br /&gt;
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To achieve the communicative and interative function between the target text and the target receptor, the target text needs to conform to the linguistic coherence, and be understood and accepted by the readers in the context of the target language and culture. The principle of coherence means that the target text must conform to the intra-textual coherence, that is, the translation must be understood by the target reader and be meaningful in the culture of the target language and the communication environment in which the translation is used. “The principle of coherence requires that the information generated by the translator (target text) must be interpreted in a manner consistent with the context of the target reader.” (Shuttleworth 2004: 75) This means the translator should maximize the translation Semantic coherence and makes the translation understandable and acceptable to the target readers. The target text can help target readers understand and successfully exchange information.&lt;br /&gt;
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The fidelity rule refers to the inter-textual coherence between the original text and the target text, which requires &amp;quot;consistency between the target text and the original text&amp;quot; (Munday, 2010: 79). Therefore, in the translation process, the translator should not only be faithful to the original text, but also transfer the writing style and cultural factors existed in the source text. This principle requires translator to follow the purpose of translation.&lt;br /&gt;
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In the process of translation, translators should follow three principles according to Skopos Theory: the Skopos rule, the coherence rule and the fidelity rule. Among these three rules in Skopos Theory, the skopos rule is the primary principle translators should adopt in the process of translation, and the coherence rule and the fidelity rule must follow the skopos rule. So in the case of translation practice, fidelity rule is subordinate to coherence rule, and both are subordinate to the Skopos rule. In a word, Skopos rule plays a decisive role in translation process, and it should be considered first in translation. (Fang Mengzhi 2011, 20)&lt;br /&gt;
&lt;br /&gt;
====2.3 Application of Skopos Theory====&lt;br /&gt;
Skopos Theory is different from traditional theories which overemphasize the features of language rules. With regard to Skopos Theory, it requires that translators should not only consider the language but also take account of factors beyond texts and language like the purpose of translation. As for ''A Tale of Two Cities'', the purpose is to make the target reader feel the same as the source target reader.  Since this is a literary text, the cultural factors and rhetorical methods used in the source texts should be reflected in the target text. In addition, the feeling of the target text reader should be taken into consideration in the process of translation. Therefore, the translation should conform to habits of the target language. But guided by Skopos Theory, the advantages and disadvantages of machine translation can be easily analyzed, so that a better solution can be founded between human translation and machine translation.&lt;br /&gt;
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===3. Machine Translation and Human Translation===&lt;br /&gt;
Translation activities have a long history. As far as China is concerned, translation has a history of more than two thousand years. However, the translation tools have rarely changed, and the translations are always been done by &amp;quot;translators&amp;quot;. With the development of science and technology and the acceleration of globalization, there is an increasing need for translation. Therefore， &amp;quot;machine&amp;quot; translation has emerged. High efficiency and low cost of machine translation make people think about whether machine translation will replace human translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
====3.1 Advantages and disadvantages of human translation====&lt;br /&gt;
Human translation has both advantages and disadvantages. For example, human translation has the characteristics of flexibility, accuracy, high readability and humanization of language. At the same time, however, compared with machine translation, human translation is less efficient and easy to be influenced by translator's own cultural background and translation capacity so it is difficult to achieve rapid development. Before the advent of machine translation, all translation activities were done by human. Compared with machine, translators, as a bridge of cross-cultural communication, are more flexible. Translation itself is a complex activity. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Professional translators who have certain cultural background knowledge can choose different translation methods and strategies according to the similarities and differences between the two languages and cultures, so it is more flexible and accurate. The flexibility of human language enables the translator to express the meaning of the original text in a more abundant language, and accurately handle the rhetorical devices in the original text. Therefore, the target text of human translation must be more readable than that of machine translation. Human translation has a long history, and people's research on translation has never stopped. Many excellent translators have emerged in the world and put forward various translation ideas and strategies. Translation has established a relatively mature and complete theory. With the rapid development of China's economy and the increasing number of foreign exchanges, the demand for translation is on the rise. At the same time, the time spent on translation needs to be shortened. Therefore, manual translation alone cannot meet the needs of the translation market. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
====3.2 Advantages and disadvantages of machine translation====&lt;br /&gt;
Machine translation refers to thefact that a language can be transferred into another language automatically with the help of machine. The idea of machine translation was firstly put forward by Weaver in his book Translation in 1949. Since the end of the 20th century, the development of the Internet and computer technology has provided more optional software and engines for machine translation. At the same time, the corpus has become richer and more complete, greatly improving the efficiency and quality of machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
The current machine translation is based on the &amp;quot;Neural Machine Translation&amp;quot; (NMT) model of artificial intelligence. Currently, the popular web page machine translations include Youdao Translation, Baidu Translation, Google Translation and so on. Google is currently in a leading position in both voice translation and text translation. Google Translation is a service provided by Google to translate texts and web pages, providing instant translation between more than 100 languages. It can provide translations of words, sentences and web pages between any two languages it supports. The more human translation documents that can be analyzed for a particular language are, the higher the quality of the translation is. In addition, Google's web page translation is fast, especially free to use, so it has a considerable number of users in translation activities, especially students. Therefore, this paper will take Google Translation and Baidu Translation as an example to analyze the translation quality, which is representative in the market. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
Generally speaking, machine translation has the characteristics of high efficiency, low cost, accuracy of terminology translation, and great development potential. Machine translation is fast and efficient, for which human translation cannot match. Secondly, the price of machine translation is low, even free, which greatly reduces the economic cost and time cost for those who do not require high translation quality. In addition, compared to human translation, the huge corpus established by machine translation makes the translation of some terms, especially the latest scientific and technological terms, faster and more accurate. The accurate translation of these terms requires continuous learning by the translator, and learning requires a process, which has a certain test of the translator's learning ability and learning speed. At this point, human translation has uncertainty and lag. Finally, although the history of machine translation is short, it has achieved rapid development. With the advancement of science and technology and the development of society, the functions of machine translation will be more perfect and the quality of translation will be better. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
First of all, from a microscopic point of view, machine translation often has problems in the choice of word meaning, especially when there is one word with different meanings. It needs the translator to select the meaning based on the context, while machine translation cannot accurately choose the meaning of a word in combination with the context. What’s more, the word order of the translated sentence often does not conform to the word order and expression habits of the target language. From the aspect of tense, it is more accurate when translating English into Chinese, because words in English can directly change tense. However, there are sometimes problems such as no corresponding tenses when translating Chinese into English. From a macro point of view, machine translation does not have cultural sensitivity and is not accurate enough for the translation of some idioms and proverbs with strong cultural color. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
====3.3 Relationship between machine translation and human translation====&lt;br /&gt;
Machine translation is based on human translation, and the establishment of corpus that machine translation relies on needs human participation. When translating technical terms, machine translation corpus and parallel text can greatly reduce the time when find and determine proper equivalent terms. However, the establishment of these corpora needs well-translated materials. The accuracy and usability of corpus are also affected by the quality of human translation. Therefore, they restrict and influence each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
There are more or less defects in the micro and macro aspects of machine translation. At the micro level, it mainly includes vocabulary, syntax, tense, and so on. However, at the macro level, it mainly includes text cohesion and cultural background. Therefore, human translation is essential. In addition, all machine translation inspection, modification, sorting and other work must also be carried out manually, so as to make the translation quality better and meet the requirements of communication. It can be seen that machine translation alone cannot meet the requirements of high quality translation. Translation activities cannot be separated from human participation. Therefore, with the development of machine translation, translation should be completed by both machine and human. The two are related, influenced with each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
===4. Case Study from the Perspective of Skopos Theory===&lt;br /&gt;
A Tale of Two Cities is a long historical novel by British writer Charles Dickens, first published in 1859. The story is set in the French Revolution and has a touching plot. It is one of the world's literary classics. The twin cities refer to Paris and London. The story connects these two cities and tells the story of the Parisian doctor Manette. He was persecuted by the brothers of the Marquis St. Evremonde due to injustice and was detained in the Bastille prison for 18 years. After being released from prison, Mannette's daughter Lucie fell in love with the enemy's son Darney. Thus, in the whirlpool of the French Revolution, scenes of family grievances and hatred were staged grandly. Life and death, good and evil were blended in conflict and changed in an instant. On the guillotine, Carton calmly sacrificed his life for love. （Dickens 2016）&lt;br /&gt;
&lt;br /&gt;
A Tale of Two Cities has a rigorous structure and condensed language. Dickens's profound thinking on revolution and humanity and his breathtaking writing talent are fully demonstrated. This paper selects the most representative classic sentences in the text for comparative analysis of translation, studies whether neural network machine translation software can accurately translate classic literary works, and explores whether neural network machine translation will replace manual translation in the context of artificial intelligence. The human translation was by Zhaolin Song. Among the many translation versions in China, Song’s translation was regarded as the version which closes to the source text most. (Feng Baoyin 2018, 232)&lt;br /&gt;
&lt;br /&gt;
====4.1 Case Study from the perspective of Skopos Rule====&lt;br /&gt;
In Vermeer’ opinion, the dominant rule for any translation should be the skopos rule, which means that a translation action is determined by its purposes. That is to say, the translation action should be in accordance with the target context and culture. The purposes of target text determine the translation strategies and methods used in translation process. A good translation should conform to the target culture and meet target audiences’ expectations. According to Nord, “Skopos of a particular translation task may require a ‘free’ or a ‘faithful’ translation, or anything between these two extremes, depending on the purpose for which the translation is needed”. Once the intended purposes are achieved, the translation will be considered as reasonable and proper. It is unnecessary for the translation to be equivalent to the source text. (Nord 1997, 102)&lt;br /&gt;
&lt;br /&gt;
Example 1: We were all going direct to heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. （Dickens 2016, 15）&lt;br /&gt;
&lt;br /&gt;
Google translation: 我们都直接去天堂，我们都直接去天堂- -简而言之，这一时期与目前的时期如此遥远，以至于它的一些最吵闹的当局坚持以最高的比较程度来接受它是好是坏。&lt;br /&gt;
&lt;br /&gt;
Baidu translation: 我们是所有的人都直接去天堂，我们都朝着另一个方向去——简而言之，这个时期和现在的时代非常相似，以至于一些最吵闹的权威坚持要接受它，不管是好是坏，只是在最高级的比较中。&lt;br /&gt;
&lt;br /&gt;
Human translation（Zhaolin Song）: 我们大家都在直升天堂，我们大家都在直下地狱——简而言之，那个时代和当今这个时代是如此相似，因而一些吵嚷不休的权威们也坚持认为，不管它是好是坏，都只能用“ 最……”来评价它。(Song Zhaolin 2005, 20)&lt;br /&gt;
&lt;br /&gt;
Analysis: &lt;br /&gt;
Since this is selected from a novel, the purpose of translation should be express the meaning and beauty of the source text. As for the Google translation, there was a mistake in translating &amp;quot;We were all going directly the other way&amp;quot;. The translated meaning is totally different from the original.  As to Baidu translation, it expressed the meaning of the original text, but the way it expressed the original meaning may confuse the target text reader. In regards to human translation, the translator of this edition adopts the combination of literal translation and free translation. In this way, the translation not only clearly expresses the original meaning, but also takes into account the literariness of the work, so that readers can feel the characteristics of the times more vividly&lt;br /&gt;
&lt;br /&gt;
====4.2 Case study from the perspective of coherence rule====&lt;br /&gt;
Coherence rule is also called “intra-textual coherence”, which means that the translation should be acceptable and understandable for the target audiences and be meaningful in the communicative situation and culture in which it is received. In other words, the target text should conform to the target receivers’ situation, including their given knowledge, background culture and specific circumstances. (Nord 1997, 120)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 2: Questions, questions, questions! (Charles Dickens 2016, 56)&lt;br /&gt;
&lt;br /&gt;
Google Translation: 问题，问题，问题！&lt;br /&gt;
&lt;br /&gt;
Baidu Translation: 问题，问题，问题！&lt;br /&gt;
&lt;br /&gt;
Human translation（Zhaolin Song）: 问题一个接一个地提出来！(Song Zhaolin 2005, 68)&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, the original text uses three &amp;quot;questions&amp;quot; in a row to enhance the tone. However, Google and Baidu Translation directly translated it into &amp;quot;问题，问题，问题！&amp;quot;, which sounds too blunt to read. The target text translated by Google and Baidu cannot reflect the meaning of the original text. What's more, it makes it hard for target readers to get the meaning of the text. While the translator chose the free translation method to make the translation more natural and smooth. The translated text followed the coherence rule in the process of translation.&lt;br /&gt;
&lt;br /&gt;
Example 3: But just because he had a powerful enemy---an enemy with the power to send him to prison and to keep him there, hidden and forgotten, for eighteen years. (Charles Dickens 2016, 102)&lt;br /&gt;
&lt;br /&gt;
Google translation: 但是仅仅因为他有一个强大的敌人-一个有能力将他送进监狱并将其隐藏和遗忘在监狱里长达十八年的敌人。&lt;br /&gt;
&lt;br /&gt;
Baidu translation:只是因为他有一个强大的敌人，一个有能力把他送进监狱，把他关在那里，隐藏起来，被遗忘18年。&lt;br /&gt;
&lt;br /&gt;
Human translation(Song Zhaolin): 而只是因为他有一个强大的敌人-这个敌人拥有权势将他投进监狱，而且把他在那里与世隔绝、被人遗忘地关了18年。(Song Zhaolin 2005, 130)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Analysis: In terms of grammar, English uses long sentences, which are connected by functional words, such as conjunctions, prepositions and relative words. Its syntactic structure is relatively complex and it is a hypotactic language. Chinese is a paratactic language. In the process of E-C translation, we often use disassembly syntax to translate a long and complex English sentence into several short and simple Chinese short sentences. From Google Translation, it directly translated the structure of the original text. The target text created by Google translation doesn't conform to target language structure. While the translation of Baidu almost in accordance with the target language structure. As to the human translation, not only was the structure, but also the meaning was perfectly expressed.&lt;br /&gt;
&lt;br /&gt;
====4.3 Case study from the perspective of fidelity rule====&lt;br /&gt;
Fidelity rule is also named by Vermeer as “intertextual coherence”, which puts emphasis on the relationship between the source text and target text. Based on Skopos theory, fidelity rule requires that the target text should be in accordance with the source text, which means the information contained in the source text should be exactly conveyed by the target text under the translators’ efforts. (Nord 1997, 140)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 1: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us. （Dickens 2016, 15）&lt;br /&gt;
 &lt;br /&gt;
Google Translation: 那是最美好的时光，那是最糟糕的时光，那是智慧的时代，那是愚昧的时代，那是信仰的时代，那是轻信的时代，那是光明的季节， 是黑暗的季节，是希望的春天，是绝望的冬天，我们眼前的一切，眼前的一切。&lt;br /&gt;
 &lt;br /&gt;
Baidu Translation: 那是最好的时代，最坏的时代，智慧的时代，愚昧的时代，信仰的时代，不信的时代，光明的季节，黑暗的季节，希望的春天，绝望的冬天，我们面前什么都有，面前什么都没有。 &lt;br /&gt;
&lt;br /&gt;
Human Translation (Zhaolin Song): : 那是最美好的时代，那是最糟糕的时代；那是个睿智的年月，那是个蒙昧的年月；那是信心百倍的时期，那是疑虑重重的时期；那是阳光普照的季节，那是黑暗笼罩的季节；那是充满希望的春天，那是让人绝望的冬天；我们面前无所不有，我们面前一无所有。（Song Zhaolin 2005, 20）&lt;br /&gt;
 &lt;br /&gt;
Analysis: This is the classic opening paragraph in &amp;quot;A Tale of Two Cities&amp;quot;, and it can be said to be very popular. On the whole, because of the simple structure of this paragraph, the two machine-translated translations all accurately express the content of the original text, but one shortcoming is that it is difficult for machine translation to express the unique beauty of rhythm of the original text.&lt;br /&gt;
&lt;br /&gt;
Through the analysis of the translation of commonly used machine translation software and human translation from the perspective of Skopos Theory, we can conclude that for the translation of literary works, machine translation can accurately express the meaning of the original text, even equal to manual translation if there are only some simple expressions in the source texts. However, the quality of machine translation needs to be improved some sentences with complex sentence patterns and difficult grammatical structures. Therefore, the translation of literary works by machines  still have a long way to go.&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
The main purpose of this paper is to find a better solution between machine translation and human translation under the guidance of the Skopos Theory for optimizing weaknesses of machine translation platforms, which not only generates solutions to errors, but also improves the quality of machine translation. &lt;br /&gt;
&lt;br /&gt;
Theoretically, this paper applies Skopos Theory to guide human translation and machine translation of literary texts. Machine translation can be regarded as a basis of human translation, while those errors caused by machine translation can be improved manually after the completion of machine translation. Meanwhile, by employing appropriate translation methods and techniques, such as semantic conversion, amplification, omission and so on, human translation based on machine translation enormously solves errors in machine translation which further optimizes weaknesses of machine translation. Human translation process also becomes more efficient with the help of machine&lt;br /&gt;
&lt;br /&gt;
As for machine translation, firstly, machine translation platforms can’t replace translators on account of its incomplete corpus and limitations in transferring the cultural meaning. Secondly, errors at lexical level caused by defects of machine translation are much more than that at syntactical level. Lastly, machine translation platforms are restricted by contexts of language, situation and culture which lead to incorrect target text.&lt;br /&gt;
&lt;br /&gt;
In regard with human translation, from the perspective of Skopos theory, human translation is more understandable and readable to target readers than that of machine translation. It’s essential for the translator to know typical errors in machine translation, features of machine translation platforms and characteristics of the source text, which could fascinate the efficiency of translation. All in all, machine translation platforms enhance the efficiency of translating large amount of material and human translation provides a solution for machine translation of poor quality. Machine translation and human translation are complement to each other.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Charles Dickens. (2016). A Tale of Two Cities. Macmillian.&lt;br /&gt;
&lt;br /&gt;
* Fang Mengzhi 方梦之. (2011). 中国译学大辞典 [A Dictionary of Translation Studies in China] 上海外语教育出版社(leave a blank space)Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
* Feng Baoyin(leave a blank space)冯宝茵 (2018). 从读者反应论对比两个《双城记》译本 [A comparative study of two versions of a tale of two cities from the perspective of reader response theory]. 北方文学, Northern Literature (36):232.&lt;br /&gt;
&lt;br /&gt;
* Hu Kaibao &amp;amp; Li Yi胡开宝 &amp;amp; 李翼. (2016). 机器翻译特征及其与人工翻译关系的研究. [Research on the characteristics of machine translation and its relationship with human translation] 中国翻译 Chinese Translation (05),10-14. &lt;br /&gt;
&lt;br /&gt;
* Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.&lt;br /&gt;
&lt;br /&gt;
* Mark Shuttleworth (2004). Dictionary of Translation Studies. Foreign Language Teaching and Research Press. 75.&lt;br /&gt;
&lt;br /&gt;
* Munday, J. (2001). Introducing Translation Studies: Theories and Application. London: Routeledge. 78.&lt;br /&gt;
&lt;br /&gt;
* Reiss, K &amp;amp; Vermeer, H. J. (1984). Groundwork for a General Theory of Translation. Tubingen: Niemeyer.&lt;br /&gt;
&lt;br /&gt;
* Song Zhaolin(leave a blank space)宋兆霖 (2005). 双城记 A Tale of Two Cities 中国戏剧出版社, China Drama Press.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118916</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118916"/>
		<updated>2020-12-21T15:43:57Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Conclusion */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing 英语笔译 202070080581==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but this does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, have not been covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. &lt;br /&gt;
&lt;br /&gt;
During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. &lt;br /&gt;
&lt;br /&gt;
The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures.Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language.&lt;br /&gt;
&lt;br /&gt;
In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
&lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis.That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. &lt;br /&gt;
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Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which is direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word, which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example,“Take care. Hope to see you soon.” is  polite and emotional way to express our feelin .&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translator's mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have to consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore,proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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It is obvious that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese people often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but trasnslators have to choose one based on the context. &lt;br /&gt;
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“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, translators need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics and reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
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Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
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Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. &lt;br /&gt;
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According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:30, 21 December 2020 (UTC)&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
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The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the earliest translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
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===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the first, second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
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This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.&lt;br /&gt;
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Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, style and culture.（Zhou Xingyang,2018:11）&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,''Toward a Science of Translating''. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.（Zhao Dandan,2011:1）&lt;br /&gt;
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In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.（Nida,2004:24）&lt;br /&gt;
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Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book ''Language, Culture and Translation'', Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the response of the reader of the recipient language, and(3) the receptor language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader’s reaction to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber point out that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: words, sentences and passages, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of ''Folding Beijing'' from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of ''Folding Beijing'', there are many examples of how the translation can achieve functional equivalence with the original text at the lexical level, as follows: (Ding Juan, 2011:22)&lt;br /&gt;
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Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
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&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
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&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention and conveys what appears to be a bad temper.&lt;br /&gt;
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Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
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&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.&lt;br /&gt;
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=====2.1.2 Syntactic Level=====&lt;br /&gt;
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Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese.（Din Juan,2011:24）&lt;br /&gt;
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The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress.（Din Juan,2011:24）&lt;br /&gt;
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In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a appropriate form. The following are examples of how the English translation of ''Folding Beijing'' achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
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&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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We can see that in the translation of this passage, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the translator have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
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“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
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In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using a subordinate clause like &amp;quot;...childhood that...&amp;quot;.&lt;br /&gt;
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Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
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&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
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=====2.1.3 Discourse level=====&lt;br /&gt;
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Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in terms of discourse level. A dialogue from ''Folding Beijing'' and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Din Juan,2011:27）&lt;br /&gt;
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“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
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老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
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“可是这等于我也得撒谎。”&lt;br /&gt;
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依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
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Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
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&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
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Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translating. The form of the dialogue is not exactly translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.&lt;br /&gt;
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====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
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Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
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=====2.2.1 Rhetoric=====&lt;br /&gt;
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Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）&lt;br /&gt;
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Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.&lt;br /&gt;
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Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
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Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
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&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
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This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.&lt;br /&gt;
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Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
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&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
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In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle and he just use the word &amp;quot;monster&amp;quot;.&lt;br /&gt;
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=====2.2.2 Dialects=====&lt;br /&gt;
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The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem.（Din Juan,2011:33）&lt;br /&gt;
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For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
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In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.&lt;br /&gt;
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====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
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Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of ''Folding Beijing'' from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)&lt;br /&gt;
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=====2.3.1 Food Culture=====&lt;br /&gt;
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The city described in ''Folding Beijing'' is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.&lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
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&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.&lt;br /&gt;
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Example 3:&lt;br /&gt;
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&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator captures this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）&lt;br /&gt;
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=====2.3.2 Folk Culture=====&lt;br /&gt;
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Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
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&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The culture of hometown is one of the major characteristics of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word to make it easy for readers to understand.&lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
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In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.&lt;br /&gt;
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=====2.3.3 Culture of Idioms=====&lt;br /&gt;
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Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
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The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;ate heartily&amp;quot;. Although the translation is easy to understand, but without the image that people are very hungry to eat, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot; is translated as &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; is translated as &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he kept the secret and that Yi Yan and Qin Tian might be together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of ''Folding Beijing'' from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of ''Folding Beijing'' to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
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Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni  202070080620 MTI英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni MTI 英语笔译 No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
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The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
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American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
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The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
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The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
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====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
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Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
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Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
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===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
 &lt;br /&gt;
Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
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Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
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====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
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He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
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===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
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It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
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In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
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In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
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Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
&lt;br /&gt;
======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
&lt;br /&gt;
 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
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In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
&lt;br /&gt;
 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
&lt;br /&gt;
An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
&lt;br /&gt;
======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
&lt;br /&gt;
Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:51, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation, 韩宛真 Han Wanzhen, 英语语言文学==	&lt;br /&gt;
&amp;lt;center&amp;gt;Han Wanzhen 韩宛真, 202020080603.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this chapter summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and  knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
&lt;br /&gt;
===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
&lt;br /&gt;
The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicit), which means that the speaker actually wants to express the meaning: the second is the explicit, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
&lt;br /&gt;
Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understanding:the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
&lt;br /&gt;
===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
&lt;br /&gt;
Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
&lt;br /&gt;
===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
&lt;br /&gt;
===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
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The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
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Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this chapter, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:27, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures ==&lt;br /&gt;
    陈佳欣	Chen Jiaxin 202020080593 英语语言文学&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time, until they entered China along trade routes from Central Asia in the first century AD.&lt;br /&gt;
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Buddhism is widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the similarity in form and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation(Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three periods. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposes that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposes to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang holds that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He translated 35 Buddhist Scriptures in total, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “Transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, was a Buddhist scripture translator during the Three Kingdoms period. He was the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignoring the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The dominant translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures.&lt;br /&gt;
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On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore they can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
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====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he was also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He was one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translated 39 volumes. He was proficient in both Chinese and Sanskrit languages, and advocated that as long as the translation does not violate the original meaning, there is no need to follow the original form. &lt;br /&gt;
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“Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of Indian Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25).&lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness.&lt;br /&gt;
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Another remarkable achievement is his contribution to the translation workshop. After he arrived at Chang'an, he began to organize translation workshops.With his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads) were usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China, translators could take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there were more Sanskrit texts, they had more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, and metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age was Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses. The number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators were mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also had a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who were proficient in Sanskrit has gradually increased, and the translation work did not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty was more all-sided in organization. “According to records, the translation workshop of the Tang Dynasty had as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them were rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts were more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believed that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese was mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
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The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
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Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
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Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
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Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
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Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
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Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
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Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
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WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:11, 21 December 2020 (UTC)&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi ==&lt;br /&gt;
&amp;lt;center&amp;gt;成于思	Cheng Yusi No.202020080598 比较文学与跨文化研究&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the chapter is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the chapter will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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André Lefevere; ''Translation History and Culture: A Sourcebook''; Liu Miqing; ''A Comparative Study of Chinese and Western Translation Principles''; “cultural turn”; John Dryden; translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This chapter presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, the chapter intends to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This chapter will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, paraphrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. Dryden's comparison of a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
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===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements, which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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I enjoy reading this book because it brings those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;an author and a translator&amp;quot; to &amp;quot;a master and a slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracts two statements by Dryden and relatively places them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracts an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposes three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposes a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argues that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compares a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars, like Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) &lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works were with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
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About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
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===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
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In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
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Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
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The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
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He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
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The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
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Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
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Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
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The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognizes that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School and New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
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Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot;, and he gives his reasons: first, the lack of compass of theories which can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current superficial, assertive and rational views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
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The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
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Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulated that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
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Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation principles that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the feature of the tradition of Chinese translation changes from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
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As such, the flourishing of translation is bound to be our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
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The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
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The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
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The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
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Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
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Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
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Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argues that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provides a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
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===4. Comparison between the books of ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
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Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
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===4.2 From the aspect of the arrangement===&lt;br /&gt;
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Both of these two books are arranged in theme rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters, which are concerned with the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. As to the longer essays, they are collected in the last chapter. &lt;br /&gt;
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Liu arranges his book differently. Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includs the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which helps readers understanding translation principles.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In conclusion, the paper intends to help readers to have better understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of a translator to a slave. Then, it figures out the reasons of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 12:08, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
&lt;br /&gt;
André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
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Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
&lt;br /&gt;
Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
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Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
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Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
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Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
&lt;br /&gt;
Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
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Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
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Ancient Translation Period&lt;br /&gt;
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The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
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Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）&lt;br /&gt;
Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
&lt;br /&gt;
A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
&lt;br /&gt;
(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
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Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
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Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
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Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
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===Analysis of Theoretical Research Status===&lt;br /&gt;
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Descriptive Analysis of Translation Theory Research&lt;br /&gt;
&lt;br /&gt;
First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
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The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
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First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
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Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
&lt;br /&gt;
===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
&lt;br /&gt;
Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645 MTI 英语口译==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.（Venuti，1995）&lt;br /&gt;
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Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku,2011）&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku,2011）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words.（Zhang le 2017，37）&lt;br /&gt;
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[Take Chinese and English for example ,the word “落汤鸡”can not be translated as “soup chicken”,in literal, as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain, but in England ,a country with developed industry, people are no longer farming ,so it may be hard for them to understand as they have not seen it before, instead ,the familiar thing they can image is the drowned mouse ,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily, after the rain ,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
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To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
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Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just in the  south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou 苏州(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan 银川(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
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For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
 &lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
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Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
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For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
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If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
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===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* wenku.(2011).翻译中的归化异化.&amp;quot;Domestication and Foreignization in Translation&amp;quot; .https://wenku.baidu.com/view/a63459ee81c758f5f61f67e0.html.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:28, 20 December 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
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==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recording two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) &lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. &lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） &lt;br /&gt;
&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei etc. (Yi Jing,2009)&lt;br /&gt;
&lt;br /&gt;
The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 The awareness of an independent discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )&lt;br /&gt;
&lt;br /&gt;
Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) &lt;br /&gt;
&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
&lt;br /&gt;
Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 &lt;br /&gt;
&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
4.4.2 Discipline structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)&lt;br /&gt;
&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
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Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
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Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
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Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
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Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
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Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
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Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
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Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
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Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658,外国语言学及应用语言学 Foreign Linguistics and Applied Linguistics==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;许晶Xu Jing  202020080658&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Translation Studies, translation education, translation talents&lt;br /&gt;
&lt;br /&gt;
==='''题目'''===&lt;br /&gt;
&lt;br /&gt;
对中国翻译学学习的反思&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。&lt;br /&gt;
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==='''关键词'''=== &lt;br /&gt;
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翻译学，翻译教育，翻译人才&lt;br /&gt;
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==='''1. Introduction'''===&lt;br /&gt;
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1.1. The Connotation of Translation Studies&lt;br /&gt;
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Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
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Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
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Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
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Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
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1.2. The Significance of Translation Studies&lt;br /&gt;
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With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
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As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
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Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
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==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
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Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.&lt;br /&gt;
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2.1. The Exploration Period of Translation Studies &lt;br /&gt;
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In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
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The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.&lt;br /&gt;
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However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, as well as translation criticism, translation publishing, and translation management, etc.&lt;br /&gt;
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At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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2.2. The Development Period of Translation Studies &lt;br /&gt;
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At the beginning of this period, translation studies explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge. Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)&lt;br /&gt;
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2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
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In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers should help students to acquire the industry knowledge, technology, skills and accomplishments that required by the language service market. Teachers can invite industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
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3.1. Translation Education &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018）&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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In addition, due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)&lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019）&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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3.2.2. Insufficient background knowledge &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information.&lt;br /&gt;
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With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
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3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
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==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.&lt;br /&gt;
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4.1. Translation Education&lt;br /&gt;
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Translation education plays an important role in cultivating translation talents, and a good translation education system will provide a good environment for students to learn Translation Studies, so it is necessary to improve translation education system.&lt;br /&gt;
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4.1.1. Improve Teaching Mode&lt;br /&gt;
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The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019)&lt;br /&gt;
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4.1.2. Strengthen Faculty Force&lt;br /&gt;
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Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019）&lt;br /&gt;
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Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
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4.1.3. Broaden the academic vision of translation&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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4.2. Students &lt;br /&gt;
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Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
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4.2.1. Expanding knowledge&lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
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Students must spend enough time in practicing. They can take part in many social activities to experience different aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
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From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 15:23, 20 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.&lt;br /&gt;
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Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on domestication strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
&lt;br /&gt;
====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;The highest art can only be understood by a few&amp;quot;, &amp;quot;Art has its own many grades, so the appreciation of art also has many grades. &amp;quot;. (Liang Shiqiu: R.O.C. 23) &lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
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====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously&lt;br /&gt;
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In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
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Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
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When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Irving Babbitt, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
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====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.&lt;br /&gt;
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For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
&lt;br /&gt;
EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
&lt;br /&gt;
伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
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This man hath my consent to marry her．&lt;br /&gt;
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是我答应把我女儿嫁给他的&lt;br /&gt;
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Stand forth，Lysander．&lt;br /&gt;
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走上前来，拉山德。&lt;br /&gt;
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And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
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殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
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In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
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拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
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否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
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Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
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First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
&lt;br /&gt;
Translation of Liang Shiqiu:&lt;br /&gt;
&lt;br /&gt;
赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
&lt;br /&gt;
否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
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HELENA She was a vixen when she went toschool: &lt;br /&gt;
&lt;br /&gt;
And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
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海 上学时她就是个狐狸精。&lt;br /&gt;
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她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
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Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
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Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
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For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
&lt;br /&gt;
Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
&lt;br /&gt;
Liang’s version :&lt;br /&gt;
&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
&lt;br /&gt;
For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
&lt;br /&gt;
By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
&lt;br /&gt;
Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
 &lt;br /&gt;
Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
          &lt;br /&gt;
Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
&lt;br /&gt;
Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
  &lt;br /&gt;
Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
&lt;br /&gt;
Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
&lt;br /&gt;
Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
&lt;br /&gt;
Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
&lt;br /&gt;
===Toury and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
&lt;br /&gt;
According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
According to Toury, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
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Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
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Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
&lt;br /&gt;
==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，使读者深刻理解描写性翻译研究的地位。&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
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He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
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====2.4 Polysystem Theory====&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem(多元体系派) is not satisfied with the achievements made by the translation studies(翻译研究派). It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
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====2.5 Gideon Toury&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
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====2.6 Snell-Hornby&lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
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===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
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====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
    &lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
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Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
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(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
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(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
&lt;br /&gt;
The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
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First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory is undoubtedly meaningful and instructive, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
&lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
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Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
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====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
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In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
&lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Reference===&lt;br /&gt;
&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
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J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
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Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
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Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
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Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
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Snell-Hornby. (1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满, Liu Fang 刘芳. (2005). 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究：从规范走向描写[Translation Studies: From the Prescriptive to the Descriptive Approach]. 中国翻译[Chinese Translation  Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. (2008). 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰. (2002). 多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
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==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
 &lt;br /&gt;
Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
===Abstract ===   &lt;br /&gt;
&lt;br /&gt;
Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
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Key words: translation strategies and translational problems.&lt;br /&gt;
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This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
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===Content===&lt;br /&gt;
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Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
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The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
&lt;br /&gt;
Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
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As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
&lt;br /&gt;
Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
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However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
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===References===&lt;br /&gt;
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Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;br /&gt;
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== The Comparison of Machine Translation and Human Translation from the Perspective of Skopos Theory---A Case Study of E-C Translation of ''A Tale of Two Cities'' as an example - 欧阳静兰 OuYang Jinglan 202020080630==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;欧阳静兰 OuYang Jinglan &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid development of globalization and the Internet, international communication is expanding, and a lot of information needs to be translated. Due to the low efficiency of human translation, machine translation is indispensable today. However, due to the limitations of machine translation, the quality of machine translation is still worrying. Therefore, from the perspective of Skopos theory, this paper takes the E-C translation of ''A Tale of Two Cities'' as an example to analyze the machine translation of Google translation and Baidu translation, and compare it with the translation of Song Zhaolin, so as to explore the characteristics of machine translation and human translation, try to discuss the irreplaceable nature of human translation, and discuss how to combine machine translation with human translation to improve the quality and efficiency of translation. This paper is divided into five parts: the first part introduces the background of the current translation environment; the second part introduces Skopos Theory and discusses the feasibility of Skopos Theory in analyzing machine translation and human translation; the third part introduces the advantages and disadvantages of machine translation and human translation, and discusses the relationship between them; the fourth part is a case study to see machine translation from the perspective of Skopos theory Compared with manual translation, it is concluded that machine translation and manual translation must be combined to improve the efficiency and quality of translation. The fifth part is a summary of this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Skopos Theory, machine translation, human translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
目的论视角下机器翻译和人工翻译的对比---以《双城记》的英汉翻译为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着全球化和互联网的迅速发展，国际的交流日益扩大，大量信息需要翻译。由于人工翻译效率低下，在越来越强调效率和质量的今天，机器翻译必不可少。然而，由于机器翻译的局限性，机器翻译的质量仍然堪忧。因此,本文以目的论视角, 以《双城记》的英汉翻译为例，分析谷歌翻译和百度翻译的机器译文, 与宋兆霖版本的中文译本对比，由此探析机器翻译与人工翻译的特点,尝试论述人工翻译的不可替代性, 并讨论如何将机器翻译与人工翻译结合提高翻译的质量和效率。本文分为五个部分，第一部分对当前翻译环境背景的介绍；第二部分对目的论进行简介，并讨论目的论用于分析机器翻译和人工翻译的可行性；第三部分介绍机器翻译和人工翻译的优缺点，并讨论他们之间的关系；第四部分进行案例分析，从目的论视角下看机器翻译与人工翻译的对比，得出提高翻译效率与质量必须将机器翻译与人工翻译相结合。第五部分对全文进行总结。&lt;br /&gt;
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===关键词===&lt;br /&gt;
目的论 机器翻译 人工翻译 &lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
With the development of globalization, the growth of Internet and artificial intelligence, machine translation becomes an indispensable choice in today’s society. Compared with human translation, machine translation has the advantages of efficiency. As the traditional translation method, human translation can guarantee the accuracy of the text. In this information era, many people are thinking whether human translation will be replaced by machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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In September 2016, Google released the neural network translation system, which greatly improved the quality of machine translation. In November, Baidu CEO Robin Li stated at the Wuzhen Summit of the 3rd World Internet Conference that Baidu's artificial intelligence product &amp;quot;automatic translation&amp;quot; will enter a practical state. Therefore, this paper will put the original text of Tale of Two Cities in two representative public machine translation engines at home and abroad, &amp;quot;Google&amp;quot; and &amp;quot;Baidu&amp;quot;, to obtain the machine translation. Selecting texts from the famous classical novel ''A Tale of Two Cities'', and comparing machine translations and human translations based on this novel from the perspective of Skopos theory, this paper aims to investigate the relationship between human translation and machine translation and their developments in the future.  (Hu Kaibao 2016, 10)&lt;br /&gt;
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=== 2. Overview of Skopos Theory ===&lt;br /&gt;
In the 1970s, some eminent German translation theory scholars first proposed functional translation theory. Translation theorist Katharina Reiss divides text into three types: informative, expressive and operational. She suggested that according to different text types, different translation methods should be used for analysis, and different translation criticism standards should be adopted, that is, text types, language functions and translation strategies should be combined. In the translation process, it’s essential to focus on the functional characteristics of the target text. Her text type theory and translation criticism mode can be regarded as the beginning of functionalist Skopos theory. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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Hans Vermeer is Reiss's student. He further developed Reiss's theory and proposed Skopos theory. He believed that Skopos theory is based on the source text, and then may produce a series of purposeful and effective behaviors. The core of this theory is that &amp;quot;the purpose of translation determines translation strategies and method to achieve the expected purpose of translation&amp;quot; (Reiss &amp;amp; Vermeer 1984), and German scholars Justa Holz Manttari and Christian Nord further developed this theory which based on the theory of communication and behavior, and they  proposed that translation theory is not a simple translation between words and sentences, but a kind of conscious behavior for the purpose of cultural communication. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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====2.1 Three Rules of Skopos Theory====&lt;br /&gt;
The word “Skopos” is originated from the Greek language and means &amp;quot;purpose&amp;quot;. Skopos theory refers to the process of translation is determined by the purpose of the translation, so the purpose rule is the highest one of translation. Generally speaking, skopos theory includes three principles: Skopos rule, coherence rule (intra-textual coherence) and fidelity rule (also known as &amp;quot;inter-textual coherence&amp;quot;). (Nord 2001, 20)&lt;br /&gt;
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Skopos theory believes that the important principle to be followed is the &amp;quot;purpose&amp;quot; rule, it is the core rule of Skopos Theory: the process of translation should be based on the realization of the communicative function in the target language culture, and the goal to be achieved determines the entire process of translation, that is, the method determines the result. Vermeer differentiated the purpose of translation. He believes that the purpose of translation should include three levels: the purpose of the translator; the purpose of communication; the purpose of specific translation strategies. In most cases, a translator has a certain purpose before translation, such as being entrusted by a translation company, market demand or the need to introduce a technology. In most cases, &amp;quot;purpose&amp;quot; refers to the communicative purpose of translation. Under the guidance of the purpose of communication, the translator can have more space to interpret and adjust the original text. (Nord 2001, 78)&lt;br /&gt;
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To achieve the communicative and interative function between the target text and the target receptor, the target text needs to conform to the linguistic coherence, and be understood and accepted by the readers in the context of the target language and culture. The principle of coherence means that the target text must conform to the intra-textual coherence, that is, the translation must be understood by the target reader and be meaningful in the culture of the target language and the communication environment in which the translation is used. “The principle of coherence requires that the information generated by the translator (target text) must be interpreted in a manner consistent with the context of the target reader.” (Shuttleworth 2004: 75) This means the translator should maximize the translation Semantic coherence and makes the translation understandable and acceptable to the target readers. The target text can help target readers understand and successfully exchange information.&lt;br /&gt;
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The fidelity rule refers to the inter-textual coherence between the original text and the target text, which requires &amp;quot;consistency between the target text and the original text&amp;quot; (Munday, 2010: 79). Therefore, in the translation process, the translator should not only be faithful to the original text, but also transfer the writing style and cultural factors existed in the source text. This principle requires translator to follow the purpose of translation.&lt;br /&gt;
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In the process of translation, translators should follow three principles according to Skopos Theory: the Skopos rule, the coherence rule and the fidelity rule. Among these three rules in Skopos Theory, the skopos rule is the primary principle translators should adopt in the process of translation, and the coherence rule and the fidelity rule must follow the skopos rule. So in the case of translation practice, fidelity rule is subordinate to coherence rule, and both are subordinate to the Skopos rule. In a word, Skopos rule plays a decisive role in translation process, and it should be considered first in translation. (Fang Mengzhi 2011, 20)&lt;br /&gt;
&lt;br /&gt;
====2.3 Application of Skopos Theory====&lt;br /&gt;
Skopos Theory is different from traditional theories which overemphasize the features of language rules. With regard to Skopos Theory, it requires that translators should not only consider the language but also take account of factors beyond texts and language like the purpose of translation. As for ''A Tale of Two Cities'', the purpose is to make the target reader feel the same as the source target reader.  Since this is a literary text, the cultural factors and rhetorical methods used in the source texts should be reflected in the target text. In addition, the feeling of the target text reader should be taken into consideration in the process of translation. Therefore, the translation should conform to habits of the target language. But guided by Skopos Theory, the advantages and disadvantages of machine translation can be easily analyzed, so that a better solution can be founded between human translation and machine translation.&lt;br /&gt;
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===3. Machine Translation and Human Translation===&lt;br /&gt;
Translation activities have a long history. As far as China is concerned, translation has a history of more than two thousand years. However, the translation tools have rarely changed, and the translations are always been done by &amp;quot;translators&amp;quot;. With the development of science and technology and the acceleration of globalization, there is an increasing need for translation. Therefore， &amp;quot;machine&amp;quot; translation has emerged. High efficiency and low cost of machine translation make people think about whether machine translation will replace human translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
====3.1 Advantages and disadvantages of human translation====&lt;br /&gt;
Human translation has both advantages and disadvantages. For example, human translation has the characteristics of flexibility, accuracy, high readability and humanization of language. At the same time, however, compared with machine translation, human translation is less efficient and easy to be influenced by translator's own cultural background and translation capacity so it is difficult to achieve rapid development. Before the advent of machine translation, all translation activities were done by human. Compared with machine, translators, as a bridge of cross-cultural communication, are more flexible. Translation itself is a complex activity. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Professional translators who have certain cultural background knowledge can choose different translation methods and strategies according to the similarities and differences between the two languages and cultures, so it is more flexible and accurate. The flexibility of human language enables the translator to express the meaning of the original text in a more abundant language, and accurately handle the rhetorical devices in the original text. Therefore, the target text of human translation must be more readable than that of machine translation. Human translation has a long history, and people's research on translation has never stopped. Many excellent translators have emerged in the world and put forward various translation ideas and strategies. Translation has established a relatively mature and complete theory. With the rapid development of China's economy and the increasing number of foreign exchanges, the demand for translation is on the rise. At the same time, the time spent on translation needs to be shortened. Therefore, manual translation alone cannot meet the needs of the translation market. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
====3.2 Advantages and disadvantages of machine translation====&lt;br /&gt;
Machine translation refers to thefact that a language can be transferred into another language automatically with the help of machine. The idea of machine translation was firstly put forward by Weaver in his book Translation in 1949. Since the end of the 20th century, the development of the Internet and computer technology has provided more optional software and engines for machine translation. At the same time, the corpus has become richer and more complete, greatly improving the efficiency and quality of machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
The current machine translation is based on the &amp;quot;Neural Machine Translation&amp;quot; (NMT) model of artificial intelligence. Currently, the popular web page machine translations include Youdao Translation, Baidu Translation, Google Translation and so on. Google is currently in a leading position in both voice translation and text translation. Google Translation is a service provided by Google to translate texts and web pages, providing instant translation between more than 100 languages. It can provide translations of words, sentences and web pages between any two languages it supports. The more human translation documents that can be analyzed for a particular language are, the higher the quality of the translation is. In addition, Google's web page translation is fast, especially free to use, so it has a considerable number of users in translation activities, especially students. Therefore, this paper will take Google Translation and Baidu Translation as an example to analyze the translation quality, which is representative in the market. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
Generally speaking, machine translation has the characteristics of high efficiency, low cost, accuracy of terminology translation, and great development potential. Machine translation is fast and efficient, for which human translation cannot match. Secondly, the price of machine translation is low, even free, which greatly reduces the economic cost and time cost for those who do not require high translation quality. In addition, compared to human translation, the huge corpus established by machine translation makes the translation of some terms, especially the latest scientific and technological terms, faster and more accurate. The accurate translation of these terms requires continuous learning by the translator, and learning requires a process, which has a certain test of the translator's learning ability and learning speed. At this point, human translation has uncertainty and lag. Finally, although the history of machine translation is short, it has achieved rapid development. With the advancement of science and technology and the development of society, the functions of machine translation will be more perfect and the quality of translation will be better. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
First of all, from a microscopic point of view, machine translation often has problems in the choice of word meaning, especially when there is one word with different meanings. It needs the translator to select the meaning based on the context, while machine translation cannot accurately choose the meaning of a word in combination with the context. What’s more, the word order of the translated sentence often does not conform to the word order and expression habits of the target language. From the aspect of tense, it is more accurate when translating English into Chinese, because words in English can directly change tense. However, there are sometimes problems such as no corresponding tenses when translating Chinese into English. From a macro point of view, machine translation does not have cultural sensitivity and is not accurate enough for the translation of some idioms and proverbs with strong cultural color. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
====3.3 Relationship between machine translation and human translation====&lt;br /&gt;
Machine translation is based on human translation, and the establishment of corpus that machine translation relies on needs human participation. When translating technical terms, machine translation corpus and parallel text can greatly reduce the time when find and determine proper equivalent terms. However, the establishment of these corpora needs well-translated materials. The accuracy and usability of corpus are also affected by the quality of human translation. Therefore, they restrict and influence each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
There are more or less defects in the micro and macro aspects of machine translation. At the micro level, it mainly includes vocabulary, syntax, tense, and so on. However, at the macro level, it mainly includes text cohesion and cultural background. Therefore, human translation is essential. In addition, all machine translation inspection, modification, sorting and other work must also be carried out manually, so as to make the translation quality better and meet the requirements of communication. It can be seen that machine translation alone cannot meet the requirements of high quality translation. Translation activities cannot be separated from human participation. Therefore, with the development of machine translation, translation should be completed by both machine and human. The two are related, influenced with each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
&lt;br /&gt;
===4. Case Study from the Perspective of Skopos Theory===&lt;br /&gt;
A Tale of Two Cities is a long historical novel by British writer Charles Dickens, first published in 1859. The story is set in the French Revolution and has a touching plot. It is one of the world's literary classics. The twin cities refer to Paris and London. The story connects these two cities and tells the story of the Parisian doctor Manette. He was persecuted by the brothers of the Marquis St. Evremonde due to injustice and was detained in the Bastille prison for 18 years. After being released from prison, Mannette's daughter Lucie fell in love with the enemy's son Darney. Thus, in the whirlpool of the French Revolution, scenes of family grievances and hatred were staged grandly. Life and death, good and evil were blended in conflict and changed in an instant. On the guillotine, Carton calmly sacrificed his life for love. （Dickens 2016）&lt;br /&gt;
&lt;br /&gt;
A Tale of Two Cities has a rigorous structure and condensed language. Dickens's profound thinking on revolution and humanity and his breathtaking writing talent are fully demonstrated. This paper selects the most representative classic sentences in the text for comparative analysis of translation, studies whether neural network machine translation software can accurately translate classic literary works, and explores whether neural network machine translation will replace manual translation in the context of artificial intelligence. The human translation was by Zhaolin Song. Among the many translation versions in China, Song’s translation was regarded as the version which closes to the source text most. (Feng Baoyin 2018, 232)&lt;br /&gt;
&lt;br /&gt;
====4.1 Case Study from the perspective of Skopos Rule====&lt;br /&gt;
In Vermeer’ opinion, the dominant rule for any translation should be the skopos rule, which means that a translation action is determined by its purposes. That is to say, the translation action should be in accordance with the target context and culture. The purposes of target text determine the translation strategies and methods used in translation process. A good translation should conform to the target culture and meet target audiences’ expectations. According to Nord, “Skopos of a particular translation task may require a ‘free’ or a ‘faithful’ translation, or anything between these two extremes, depending on the purpose for which the translation is needed”. Once the intended purposes are achieved, the translation will be considered as reasonable and proper. It is unnecessary for the translation to be equivalent to the source text. (Nord 1997, 102)&lt;br /&gt;
&lt;br /&gt;
Example 1: We were all going direct to heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. （Dickens 2016, 15）&lt;br /&gt;
&lt;br /&gt;
Google translation: 我们都直接去天堂，我们都直接去天堂- -简而言之，这一时期与目前的时期如此遥远，以至于它的一些最吵闹的当局坚持以最高的比较程度来接受它是好是坏。&lt;br /&gt;
&lt;br /&gt;
Baidu translation: 我们是所有的人都直接去天堂，我们都朝着另一个方向去——简而言之，这个时期和现在的时代非常相似，以至于一些最吵闹的权威坚持要接受它，不管是好是坏，只是在最高级的比较中。&lt;br /&gt;
&lt;br /&gt;
Human translation（Zhaolin Song）: 我们大家都在直升天堂，我们大家都在直下地狱——简而言之，那个时代和当今这个时代是如此相似，因而一些吵嚷不休的权威们也坚持认为，不管它是好是坏，都只能用“ 最……”来评价它。(Song Zhaolin 2005, 20)&lt;br /&gt;
&lt;br /&gt;
Analysis: &lt;br /&gt;
Since this is selected from a novel, the purpose of translation should be express the meaning and beauty of the source text. As for the Google translation, there was a mistake in translating &amp;quot;We were all going directly the other way&amp;quot;. The translated meaning is totally different from the original.  As to Baidu translation, it expressed the meaning of the original text, but the way it expressed the original meaning may confuse the target text reader. In regards to human translation, the translator of this edition adopts the combination of literal translation and free translation. In this way, the translation not only clearly expresses the original meaning, but also takes into account the literariness of the work, so that readers can feel the characteristics of the times more vividly&lt;br /&gt;
&lt;br /&gt;
====4.2 Case study from the perspective of coherence rule====&lt;br /&gt;
Coherence rule is also called “intra-textual coherence”, which means that the translation should be acceptable and understandable for the target audiences and be meaningful in the communicative situation and culture in which it is received. In other words, the target text should conform to the target receivers’ situation, including their given knowledge, background culture and specific circumstances. (Nord 1997, 120)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 2: Questions, questions, questions! (Charles Dickens 2016, 56)&lt;br /&gt;
&lt;br /&gt;
Google Translation: 问题，问题，问题！&lt;br /&gt;
&lt;br /&gt;
Baidu Translation: 问题，问题，问题！&lt;br /&gt;
&lt;br /&gt;
Human translation（Zhaolin Song）: 问题一个接一个地提出来！(Song Zhaolin 2005, 68)&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, the original text uses three &amp;quot;questions&amp;quot; in a row to enhance the tone. However, Google and Baidu Translation directly translated it into &amp;quot;问题，问题，问题！&amp;quot;, which sounds too blunt to read. The target text translated by Google and Baidu cannot reflect the meaning of the original text. What's more, it makes it hard for target readers to get the meaning of the text. While the translator chose the free translation method to make the translation more natural and smooth. The translated text followed the coherence rule in the process of translation.&lt;br /&gt;
&lt;br /&gt;
Example 3: But just because he had a powerful enemy---an enemy with the power to send him to prison and to keep him there, hidden and forgotten, for eighteen years. (Charles Dickens 2016, 102)&lt;br /&gt;
&lt;br /&gt;
Google translation: 但是仅仅因为他有一个强大的敌人-一个有能力将他送进监狱并将其隐藏和遗忘在监狱里长达十八年的敌人。&lt;br /&gt;
&lt;br /&gt;
Baidu translation:只是因为他有一个强大的敌人，一个有能力把他送进监狱，把他关在那里，隐藏起来，被遗忘18年。&lt;br /&gt;
&lt;br /&gt;
Human translation(Song Zhaolin): 而只是因为他有一个强大的敌人-这个敌人拥有权势将他投进监狱，而且把他在那里与世隔绝、被人遗忘地关了18年。(Song Zhaolin 2005, 130)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Analysis: In terms of grammar, English uses long sentences, which are connected by functional words, such as conjunctions, prepositions and relative words. Its syntactic structure is relatively complex and it is a hypotactic language. Chinese is a paratactic language. In the process of E-C translation, we often use disassembly syntax to translate a long and complex English sentence into several short and simple Chinese short sentences. From Google Translation, it directly translated the structure of the original text. The target text created by Google translation doesn't conform to target language structure. While the translation of Baidu almost in accordance with the target language structure. As to the human translation, not only was the structure, but also the meaning was perfectly expressed.&lt;br /&gt;
&lt;br /&gt;
====4.3 Case study from the perspective of fidelity rule====&lt;br /&gt;
Fidelity rule is also named by Vermeer as “intertextual coherence”, which puts emphasis on the relationship between the source text and target text. Based on Skopos theory, fidelity rule requires that the target text should be in accordance with the source text, which means the information contained in the source text should be exactly conveyed by the target text under the translators’ efforts. (Nord 1997, 140)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 1: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us. （Dickens 2016, 15）&lt;br /&gt;
 &lt;br /&gt;
Google Translation: 那是最美好的时光，那是最糟糕的时光，那是智慧的时代，那是愚昧的时代，那是信仰的时代，那是轻信的时代，那是光明的季节， 是黑暗的季节，是希望的春天，是绝望的冬天，我们眼前的一切，眼前的一切。&lt;br /&gt;
 &lt;br /&gt;
Baidu Translation: 那是最好的时代，最坏的时代，智慧的时代，愚昧的时代，信仰的时代，不信的时代，光明的季节，黑暗的季节，希望的春天，绝望的冬天，我们面前什么都有，面前什么都没有。 &lt;br /&gt;
&lt;br /&gt;
Human Translation (Zhaolin Song): : 那是最美好的时代，那是最糟糕的时代；那是个睿智的年月，那是个蒙昧的年月；那是信心百倍的时期，那是疑虑重重的时期；那是阳光普照的季节，那是黑暗笼罩的季节；那是充满希望的春天，那是让人绝望的冬天；我们面前无所不有，我们面前一无所有。（Song Zhaolin 2005, 20）&lt;br /&gt;
 &lt;br /&gt;
Analysis: This is the classic opening paragraph in &amp;quot;A Tale of Two Cities&amp;quot;, and it can be said to be very popular. On the whole, because of the simple structure of this paragraph, the two machine-translated translations all accurately express the content of the original text, but one shortcoming is that it is difficult for machine translation to express the unique beauty of rhythm of the original text.&lt;br /&gt;
&lt;br /&gt;
Through the analysis of the translation of commonly used machine translation software and human translation from the perspective of Skopos Theory, we can conclude that for the translation of literary works, machine translation can accurately express the meaning of the original text, even equal to manual translation if there are only some simple expressions in the source texts. However, the quality of machine translation needs to be improved some sentences with complex sentence patterns and difficult grammatical structures. Therefore, the translation of literary works by machines  still have a long way to go.&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
The main purpose of this paper is to find a better solution between machine translation and human translation under the guidance of the Skopos Theory for optimizing weaknesses of machine translation platforms, which not only generates solutions to errors, but also improves the quality of machine translation. &lt;br /&gt;
&lt;br /&gt;
Theoretically, this paper applies Skopos Theory to guide human translation and machine translation of literary texts. Machine translation can be regarded as a basis of human translation, while those errors caused by machine translation can be improved manually after the completion of machine translation. Meanwhile, by employing appropriate translation methods and techniques, such as semantic conversion, amplification, omission and so on, human translation based on machine translation enormously solves errors in machine translation which further optimizes weaknesses of machine translation. Human translation process also becomes more efficient with the help of machine&lt;br /&gt;
&lt;br /&gt;
As for machine translation, firstly, machine translation platforms can’t replace translators on account of its incomplete corpus and limitations in transferring the cultural meaning. Secondly, errors at lexical level caused by defects of machine translation are much more than that at syntactical level. Lastly, machine translation platforms are restricted by contexts of language, situation and culture which lead to incorrect target text.&lt;br /&gt;
&lt;br /&gt;
In regard with human translation, from the perspective of Skopos theory, human translation is more understandable and readable to target readers than that of machine translation. It’s essential for the translator to know typical errors in machine translation, features of machine translation platforms and characteristics of the source text, which could fascinate the efficiency of translation. All in all, machine translation platforms enhance the efficiency of translating large amount of material and human translation provides a solution for machine translation of poor quality. Machine translation and human translation are complement to each other.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Charles Dickens. (2016). A Tale of Two Cities. Macmillian.&lt;br /&gt;
&lt;br /&gt;
* Fang Mengzhi 方梦之. (2011). 中国译学大辞典 [A Dictionary of Translation Studies in China] 上海外语教育出版社(leave a blank space)Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
* Feng Baoyin(leave a blank space)冯宝茵 (2018). 从读者反应论对比两个《双城记》译本 [A comparative study of two versions of a tale of two cities from the perspective of reader response theory]. 北方文学, Northern Literature (36):232.&lt;br /&gt;
&lt;br /&gt;
* Hu Kaibao &amp;amp; Li Yi胡开宝 &amp;amp; 李翼. (2016). 机器翻译特征及其与人工翻译关系的研究. [Research on the characteristics of machine translation and its relationship with human translation] 中国翻译 Chinese Translation (05),10-14. &lt;br /&gt;
&lt;br /&gt;
* Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.&lt;br /&gt;
&lt;br /&gt;
* Mark Shuttleworth (2004). Dictionary of Translation Studies. Foreign Language Teaching and Research Press. 75.&lt;br /&gt;
&lt;br /&gt;
* Munday, J. (2001). Introducing Translation Studies: Theories and Application. London: Routeledge. 78.&lt;br /&gt;
&lt;br /&gt;
* Reiss, K &amp;amp; Vermeer, H. J. (1984). Groundwork for a General Theory of Translation. Tubingen: Niemeyer.&lt;br /&gt;
&lt;br /&gt;
* Song Zhaolin(leave a blank space)宋兆霖 (2005). 双城记 A Tale of Two Cities 中国戏剧出版社, China Drama Press.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118912</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118912"/>
		<updated>2020-12-21T15:43:00Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Hermanns and Translation in Systems */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing 英语笔译 202070080581==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but this does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, have not been covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. &lt;br /&gt;
&lt;br /&gt;
During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. &lt;br /&gt;
&lt;br /&gt;
The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures.Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language.&lt;br /&gt;
&lt;br /&gt;
In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
&lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
&lt;br /&gt;
Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis.That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. &lt;br /&gt;
&lt;br /&gt;
Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which is direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word, which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
&lt;br /&gt;
Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example,“Take care. Hope to see you soon.” is  polite and emotional way to express our feelin .&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translator's mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have to consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore,proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
It is obvious that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese people often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but trasnslators have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, translators need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics and reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. &lt;br /&gt;
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According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:30, 21 December 2020 (UTC)&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the earliest translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
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===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the first, second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
&lt;br /&gt;
This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, style and culture.（Zhou Xingyang,2018:11）&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,''Toward a Science of Translating''. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.（Zhao Dandan,2011:1）&lt;br /&gt;
&lt;br /&gt;
In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.（Nida,2004:24）&lt;br /&gt;
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Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book ''Language, Culture and Translation'', Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the response of the reader of the recipient language, and(3) the receptor language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader’s reaction to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber point out that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: words, sentences and passages, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of ''Folding Beijing'' from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of ''Folding Beijing'', there are many examples of how the translation can achieve functional equivalence with the original text at the lexical level, as follows: (Ding Juan, 2011:22)&lt;br /&gt;
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Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
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&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
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&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention and conveys what appears to be a bad temper.&lt;br /&gt;
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Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
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&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.&lt;br /&gt;
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=====2.1.2 Syntactic Level=====&lt;br /&gt;
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Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese.（Din Juan,2011:24）&lt;br /&gt;
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The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress.（Din Juan,2011:24）&lt;br /&gt;
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In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a appropriate form. The following are examples of how the English translation of ''Folding Beijing'' achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
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&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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We can see that in the translation of this passage, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the translator have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
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“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
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In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using a subordinate clause like &amp;quot;...childhood that...&amp;quot;.&lt;br /&gt;
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Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
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&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
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=====2.1.3 Discourse level=====&lt;br /&gt;
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Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in terms of discourse level. A dialogue from ''Folding Beijing'' and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Din Juan,2011:27）&lt;br /&gt;
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“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
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老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
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“可是这等于我也得撒谎。”&lt;br /&gt;
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依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
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Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
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&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
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Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translating. The form of the dialogue is not exactly translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.&lt;br /&gt;
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====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
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Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
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=====2.2.1 Rhetoric=====&lt;br /&gt;
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Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）&lt;br /&gt;
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Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.&lt;br /&gt;
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Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
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Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
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&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
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This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.&lt;br /&gt;
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Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
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&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
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In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle and he just use the word &amp;quot;monster&amp;quot;.&lt;br /&gt;
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=====2.2.2 Dialects=====&lt;br /&gt;
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The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem.（Din Juan,2011:33）&lt;br /&gt;
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For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
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In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.&lt;br /&gt;
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====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
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Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of ''Folding Beijing'' from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)&lt;br /&gt;
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=====2.3.1 Food Culture=====&lt;br /&gt;
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The city described in ''Folding Beijing'' is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.&lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
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&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.&lt;br /&gt;
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Example 3:&lt;br /&gt;
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&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator captures this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）&lt;br /&gt;
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=====2.3.2 Folk Culture=====&lt;br /&gt;
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Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
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&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The culture of hometown is one of the major characteristics of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word to make it easy for readers to understand.&lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
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In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.&lt;br /&gt;
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=====2.3.3 Culture of Idioms=====&lt;br /&gt;
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Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
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The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;ate heartily&amp;quot;. Although the translation is easy to understand, but without the image that people are very hungry to eat, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot; is translated as &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; is translated as &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he kept the secret and that Yi Yan and Qin Tian might be together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of ''Folding Beijing'' from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of ''Folding Beijing'' to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
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Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni  202070080620 MTI英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni MTI 英语笔译 No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
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The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
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American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
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The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
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The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
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====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
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Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
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Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
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===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
 &lt;br /&gt;
Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
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Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
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====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
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He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
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===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
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It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
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In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
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In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
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Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
&lt;br /&gt;
======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
&lt;br /&gt;
 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
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In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
&lt;br /&gt;
 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
&lt;br /&gt;
An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
&lt;br /&gt;
======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
&lt;br /&gt;
Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:51, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation, 韩宛真 Han Wanzhen, 英语语言文学==	&lt;br /&gt;
&amp;lt;center&amp;gt;Han Wanzhen 韩宛真, 202020080603.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this chapter summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and  knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
&lt;br /&gt;
===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
&lt;br /&gt;
The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicit), which means that the speaker actually wants to express the meaning: the second is the explicit, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
&lt;br /&gt;
Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understanding:the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
&lt;br /&gt;
===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
&lt;br /&gt;
Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
&lt;br /&gt;
===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
&lt;br /&gt;
===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
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The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
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Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this chapter, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:27, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures ==&lt;br /&gt;
    陈佳欣	Chen Jiaxin 202020080593 英语语言文学&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time, until they entered China along trade routes from Central Asia in the first century AD.&lt;br /&gt;
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Buddhism is widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the similarity in form and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation(Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three periods. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposes that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposes to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang holds that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He translated 35 Buddhist Scriptures in total, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “Transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, was a Buddhist scripture translator during the Three Kingdoms period. He was the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignoring the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The dominant translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures.&lt;br /&gt;
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On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore they can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
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====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he was also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He was one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translated 39 volumes. He was proficient in both Chinese and Sanskrit languages, and advocated that as long as the translation does not violate the original meaning, there is no need to follow the original form. &lt;br /&gt;
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“Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of Indian Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25).&lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness.&lt;br /&gt;
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Another remarkable achievement is his contribution to the translation workshop. After he arrived at Chang'an, he began to organize translation workshops.With his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads) were usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China, translators could take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there were more Sanskrit texts, they had more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, and metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age was Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses. The number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators were mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also had a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who were proficient in Sanskrit has gradually increased, and the translation work did not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty was more all-sided in organization. “According to records, the translation workshop of the Tang Dynasty had as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them were rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts were more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believed that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese was mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
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The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
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Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
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Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
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Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
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Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
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Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
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Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
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WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:11, 21 December 2020 (UTC)&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi ==&lt;br /&gt;
&amp;lt;center&amp;gt;成于思	Cheng Yusi No.202020080598 比较文学与跨文化研究&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the chapter is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the chapter will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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André Lefevere; ''Translation History and Culture: A Sourcebook''; Liu Miqing; ''A Comparative Study of Chinese and Western Translation Principles''; “cultural turn”; John Dryden; translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This chapter presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, the chapter intends to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This chapter will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, paraphrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. Dryden's comparison of a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
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===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements, which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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I enjoy reading this book because it brings those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;an author and a translator&amp;quot; to &amp;quot;a master and a slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracts two statements by Dryden and relatively places them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracts an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposes three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposes a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argues that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compares a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars, like Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) &lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works were with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
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About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
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===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
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In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
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Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
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The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
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He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
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The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
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Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
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Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
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The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognizes that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School and New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
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Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot;, and he gives his reasons: first, the lack of compass of theories which can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current superficial, assertive and rational views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
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The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
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Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulated that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
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Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation principles that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the feature of the tradition of Chinese translation changes from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
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As such, the flourishing of translation is bound to be our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
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The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
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The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
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The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
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Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
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Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
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Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argues that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provides a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
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===4. Comparison between the books of ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
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Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
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===4.2 From the aspect of the arrangement===&lt;br /&gt;
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Both of these two books are arranged in theme rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters, which are concerned with the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. As to the longer essays, they are collected in the last chapter. &lt;br /&gt;
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Liu arranges his book differently. Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includs the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which helps readers understanding translation principles.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In conclusion, the paper intends to help readers to have better understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of a translator to a slave. Then, it figures out the reasons of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 12:08, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
&lt;br /&gt;
André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
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Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
&lt;br /&gt;
Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
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Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
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Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
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Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
&lt;br /&gt;
Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
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Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
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Ancient Translation Period&lt;br /&gt;
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The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
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Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）&lt;br /&gt;
Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
&lt;br /&gt;
A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
&lt;br /&gt;
(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
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Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
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Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
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Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
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===Analysis of Theoretical Research Status===&lt;br /&gt;
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Descriptive Analysis of Translation Theory Research&lt;br /&gt;
&lt;br /&gt;
First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
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The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
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First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
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Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
&lt;br /&gt;
===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
&lt;br /&gt;
Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645 MTI 英语口译==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.（Venuti，1995）&lt;br /&gt;
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Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku,2011）&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku,2011）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words.（Zhang le 2017，37）&lt;br /&gt;
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[Take Chinese and English for example ,the word “落汤鸡”can not be translated as “soup chicken”,in literal, as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain, but in England ,a country with developed industry, people are no longer farming ,so it may be hard for them to understand as they have not seen it before, instead ,the familiar thing they can image is the drowned mouse ,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily, after the rain ,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
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To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
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Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just in the  south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou 苏州(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan 银川(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
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For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
 &lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
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Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
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For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
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If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
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===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* wenku.(2011).翻译中的归化异化.&amp;quot;Domestication and Foreignization in Translation&amp;quot; .https://wenku.baidu.com/view/a63459ee81c758f5f61f67e0.html.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:28, 20 December 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
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==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recording two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) &lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. &lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） &lt;br /&gt;
&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei etc. (Yi Jing,2009)&lt;br /&gt;
&lt;br /&gt;
The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 The awareness of an independent discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )&lt;br /&gt;
&lt;br /&gt;
Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) &lt;br /&gt;
&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
&lt;br /&gt;
Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 &lt;br /&gt;
&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
4.4.2 Discipline structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)&lt;br /&gt;
&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
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Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
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Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
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Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
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Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
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Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
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Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
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Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
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Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658,外国语言学及应用语言学 Foreign Linguistics and Applied Linguistics==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;许晶Xu Jing  202020080658&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Translation Studies, translation education, translation talents&lt;br /&gt;
&lt;br /&gt;
==='''题目'''===&lt;br /&gt;
&lt;br /&gt;
对中国翻译学学习的反思&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。&lt;br /&gt;
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==='''关键词'''=== &lt;br /&gt;
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翻译学，翻译教育，翻译人才&lt;br /&gt;
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==='''1. Introduction'''===&lt;br /&gt;
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1.1. The Connotation of Translation Studies&lt;br /&gt;
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Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
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Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
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Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
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Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
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1.2. The Significance of Translation Studies&lt;br /&gt;
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With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
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As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
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Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
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==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
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Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.&lt;br /&gt;
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2.1. The Exploration Period of Translation Studies &lt;br /&gt;
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In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
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The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.&lt;br /&gt;
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However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, as well as translation criticism, translation publishing, and translation management, etc.&lt;br /&gt;
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At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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2.2. The Development Period of Translation Studies &lt;br /&gt;
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At the beginning of this period, translation studies explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge. Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)&lt;br /&gt;
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2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
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In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers should help students to acquire the industry knowledge, technology, skills and accomplishments that required by the language service market. Teachers can invite industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
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3.1. Translation Education &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018）&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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In addition, due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)&lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019）&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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3.2.2. Insufficient background knowledge &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information.&lt;br /&gt;
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With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
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3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
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==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.&lt;br /&gt;
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4.1. Translation Education&lt;br /&gt;
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Translation education plays an important role in cultivating translation talents, and a good translation education system will provide a good environment for students to learn Translation Studies, so it is necessary to improve translation education system.&lt;br /&gt;
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4.1.1. Improve Teaching Mode&lt;br /&gt;
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The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019)&lt;br /&gt;
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4.1.2. Strengthen Faculty Force&lt;br /&gt;
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Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019）&lt;br /&gt;
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Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
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4.1.3. Broaden the academic vision of translation&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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4.2. Students &lt;br /&gt;
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Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
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4.2.1. Expanding knowledge&lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
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Students must spend enough time in practicing. They can take part in many social activities to experience different aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
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From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 15:23, 20 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.&lt;br /&gt;
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Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on domestication strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
&lt;br /&gt;
====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;The highest art can only be understood by a few&amp;quot;, &amp;quot;Art has its own many grades, so the appreciation of art also has many grades. &amp;quot;. (Liang Shiqiu: R.O.C. 23) &lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
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====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously&lt;br /&gt;
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In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
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Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
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When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Irving Babbitt, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
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====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.&lt;br /&gt;
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For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
&lt;br /&gt;
EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
&lt;br /&gt;
伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
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This man hath my consent to marry her．&lt;br /&gt;
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是我答应把我女儿嫁给他的&lt;br /&gt;
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Stand forth，Lysander．&lt;br /&gt;
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走上前来，拉山德。&lt;br /&gt;
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And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
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殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
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In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
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拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
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否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
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Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
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First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
&lt;br /&gt;
Translation of Liang Shiqiu:&lt;br /&gt;
&lt;br /&gt;
赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
&lt;br /&gt;
否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
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HELENA She was a vixen when she went toschool: &lt;br /&gt;
&lt;br /&gt;
And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
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海 上学时她就是个狐狸精。&lt;br /&gt;
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她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
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Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
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Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
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For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
&lt;br /&gt;
Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
&lt;br /&gt;
Liang’s version :&lt;br /&gt;
&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
&lt;br /&gt;
For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
&lt;br /&gt;
By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
&lt;br /&gt;
Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
 &lt;br /&gt;
Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
          &lt;br /&gt;
Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
&lt;br /&gt;
Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
  &lt;br /&gt;
Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
&lt;br /&gt;
Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
&lt;br /&gt;
Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
&lt;br /&gt;
Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
&lt;br /&gt;
===Toury and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
&lt;br /&gt;
According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
According to Toury, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
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Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
&lt;br /&gt;
Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
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==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，使读者深刻理解描写性翻译研究的地位。&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
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He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
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====2.4 Polysystem Theory====&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem(多元体系派) is not satisfied with the achievements made by the translation studies(翻译研究派). It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
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====2.5 Gideon Toury&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
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====2.6 Snell-Hornby&lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
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===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
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====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
    &lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
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Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
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(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
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(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
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The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
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First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory is undoubtedly meaningful and instructive, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
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Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
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Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
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====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
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In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
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The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
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===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
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Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
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Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
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===Chapter 5 Reference===&lt;br /&gt;
&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
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J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby. (1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满, Liu Fang 刘芳. (2005). 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究：从规范走向描写[Translation Studies: From the Prescriptive to the Descriptive Approach]. 中国翻译[Chinese Translation  Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. (2008). 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰. (2002). 多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
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==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
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Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
===Abstract ===   &lt;br /&gt;
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Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
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Key words: translation strategies and translational problems.&lt;br /&gt;
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This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
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===Content===&lt;br /&gt;
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Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
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The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
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The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
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Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
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As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
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However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
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Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
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However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
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===References===&lt;br /&gt;
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Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;br /&gt;
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== The Comparison of Machine Translation and Human Translation from the Perspective of Skopos Theory---A Case Study of E-C Translation of ''A Tale of Two Cities'' as an example - 欧阳静兰 OuYang Jinglan 202020080630==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;欧阳静兰 OuYang Jinglan &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid development of globalization and the Internet, international communication is expanding, and a lot of information needs to be translated. Due to the low efficiency of human translation, machine translation is indispensable today. However, due to the limitations of machine translation, the quality of machine translation is still worrying. Therefore, from the perspective of Skopos theory, this paper takes the E-C translation of ''A Tale of Two Cities'' as an example to analyze the machine translation of Google translation and Baidu translation, and compare it with the translation of Song Zhaolin, so as to explore the characteristics of machine translation and human translation, try to discuss the irreplaceable nature of human translation, and discuss how to combine machine translation with human translation to improve the quality and efficiency of translation. This paper is divided into five parts: the first part introduces the background of the current translation environment; the second part introduces Skopos Theory and discusses the feasibility of Skopos Theory in analyzing machine translation and human translation; the third part introduces the advantages and disadvantages of machine translation and human translation, and discusses the relationship between them; the fourth part is a case study to see machine translation from the perspective of Skopos theory Compared with manual translation, it is concluded that machine translation and manual translation must be combined to improve the efficiency and quality of translation. The fifth part is a summary of this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Skopos Theory, machine translation, human translation&lt;br /&gt;
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===题目===&lt;br /&gt;
目的论视角下机器翻译和人工翻译的对比---以《双城记》的英汉翻译为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着全球化和互联网的迅速发展，国际的交流日益扩大，大量信息需要翻译。由于人工翻译效率低下，在越来越强调效率和质量的今天，机器翻译必不可少。然而，由于机器翻译的局限性，机器翻译的质量仍然堪忧。因此,本文以目的论视角, 以《双城记》的英汉翻译为例，分析谷歌翻译和百度翻译的机器译文, 与宋兆霖版本的中文译本对比，由此探析机器翻译与人工翻译的特点,尝试论述人工翻译的不可替代性, 并讨论如何将机器翻译与人工翻译结合提高翻译的质量和效率。本文分为五个部分，第一部分对当前翻译环境背景的介绍；第二部分对目的论进行简介，并讨论目的论用于分析机器翻译和人工翻译的可行性；第三部分介绍机器翻译和人工翻译的优缺点，并讨论他们之间的关系；第四部分进行案例分析，从目的论视角下看机器翻译与人工翻译的对比，得出提高翻译效率与质量必须将机器翻译与人工翻译相结合。第五部分对全文进行总结。&lt;br /&gt;
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===关键词===&lt;br /&gt;
目的论 机器翻译 人工翻译 &lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
With the development of globalization, the growth of Internet and artificial intelligence, machine translation becomes an indispensable choice in today’s society. Compared with human translation, machine translation has the advantages of efficiency. As the traditional translation method, human translation can guarantee the accuracy of the text. In this information era, many people are thinking whether human translation will be replaced by machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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In September 2016, Google released the neural network translation system, which greatly improved the quality of machine translation. In November, Baidu CEO Robin Li stated at the Wuzhen Summit of the 3rd World Internet Conference that Baidu's artificial intelligence product &amp;quot;automatic translation&amp;quot; will enter a practical state. Therefore, this paper will put the original text of Tale of Two Cities in two representative public machine translation engines at home and abroad, &amp;quot;Google&amp;quot; and &amp;quot;Baidu&amp;quot;, to obtain the machine translation. Selecting texts from the famous classical novel ''A Tale of Two Cities'', and comparing machine translations and human translations based on this novel from the perspective of Skopos theory, this paper aims to investigate the relationship between human translation and machine translation and their developments in the future.  (Hu Kaibao 2016, 10)&lt;br /&gt;
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=== 2. Overview of Skopos Theory ===&lt;br /&gt;
In the 1970s, some eminent German translation theory scholars first proposed functional translation theory. Translation theorist Katharina Reiss divides text into three types: informative, expressive and operational. She suggested that according to different text types, different translation methods should be used for analysis, and different translation criticism standards should be adopted, that is, text types, language functions and translation strategies should be combined. In the translation process, it’s essential to focus on the functional characteristics of the target text. Her text type theory and translation criticism mode can be regarded as the beginning of functionalist Skopos theory. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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Hans Vermeer is Reiss's student. He further developed Reiss's theory and proposed Skopos theory. He believed that Skopos theory is based on the source text, and then may produce a series of purposeful and effective behaviors. The core of this theory is that &amp;quot;the purpose of translation determines translation strategies and method to achieve the expected purpose of translation&amp;quot; (Reiss &amp;amp; Vermeer 1984), and German scholars Justa Holz Manttari and Christian Nord further developed this theory which based on the theory of communication and behavior, and they  proposed that translation theory is not a simple translation between words and sentences, but a kind of conscious behavior for the purpose of cultural communication. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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====2.1 Three Rules of Skopos Theory====&lt;br /&gt;
The word “Skopos” is originated from the Greek language and means &amp;quot;purpose&amp;quot;. Skopos theory refers to the process of translation is determined by the purpose of the translation, so the purpose rule is the highest one of translation. Generally speaking, skopos theory includes three principles: Skopos rule, coherence rule (intra-textual coherence) and fidelity rule (also known as &amp;quot;inter-textual coherence&amp;quot;). (Nord 2001, 20)&lt;br /&gt;
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Skopos theory believes that the important principle to be followed is the &amp;quot;purpose&amp;quot; rule, it is the core rule of Skopos Theory: the process of translation should be based on the realization of the communicative function in the target language culture, and the goal to be achieved determines the entire process of translation, that is, the method determines the result. Vermeer differentiated the purpose of translation. He believes that the purpose of translation should include three levels: the purpose of the translator; the purpose of communication; the purpose of specific translation strategies. In most cases, a translator has a certain purpose before translation, such as being entrusted by a translation company, market demand or the need to introduce a technology. In most cases, &amp;quot;purpose&amp;quot; refers to the communicative purpose of translation. Under the guidance of the purpose of communication, the translator can have more space to interpret and adjust the original text. (Nord 2001, 78)&lt;br /&gt;
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To achieve the communicative and interative function between the target text and the target receptor, the target text needs to conform to the linguistic coherence, and be understood and accepted by the readers in the context of the target language and culture. The principle of coherence means that the target text must conform to the intra-textual coherence, that is, the translation must be understood by the target reader and be meaningful in the culture of the target language and the communication environment in which the translation is used. “The principle of coherence requires that the information generated by the translator (target text) must be interpreted in a manner consistent with the context of the target reader.” (Shuttleworth 2004: 75) This means the translator should maximize the translation Semantic coherence and makes the translation understandable and acceptable to the target readers. The target text can help target readers understand and successfully exchange information.&lt;br /&gt;
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The fidelity rule refers to the inter-textual coherence between the original text and the target text, which requires &amp;quot;consistency between the target text and the original text&amp;quot; (Munday, 2010: 79). Therefore, in the translation process, the translator should not only be faithful to the original text, but also transfer the writing style and cultural factors existed in the source text. This principle requires translator to follow the purpose of translation.&lt;br /&gt;
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In the process of translation, translators should follow three principles according to Skopos Theory: the Skopos rule, the coherence rule and the fidelity rule. Among these three rules in Skopos Theory, the skopos rule is the primary principle translators should adopt in the process of translation, and the coherence rule and the fidelity rule must follow the skopos rule. So in the case of translation practice, fidelity rule is subordinate to coherence rule, and both are subordinate to the Skopos rule. In a word, Skopos rule plays a decisive role in translation process, and it should be considered first in translation. (Fang Mengzhi 2011, 20)&lt;br /&gt;
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====2.3 Application of Skopos Theory====&lt;br /&gt;
Skopos Theory is different from traditional theories which overemphasize the features of language rules. With regard to Skopos Theory, it requires that translators should not only consider the language but also take account of factors beyond texts and language like the purpose of translation. As for ''A Tale of Two Cities'', the purpose is to make the target reader feel the same as the source target reader.  Since this is a literary text, the cultural factors and rhetorical methods used in the source texts should be reflected in the target text. In addition, the feeling of the target text reader should be taken into consideration in the process of translation. Therefore, the translation should conform to habits of the target language. But guided by Skopos Theory, the advantages and disadvantages of machine translation can be easily analyzed, so that a better solution can be founded between human translation and machine translation.&lt;br /&gt;
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===3. Machine Translation and Human Translation===&lt;br /&gt;
Translation activities have a long history. As far as China is concerned, translation has a history of more than two thousand years. However, the translation tools have rarely changed, and the translations are always been done by &amp;quot;translators&amp;quot;. With the development of science and technology and the acceleration of globalization, there is an increasing need for translation. Therefore， &amp;quot;machine&amp;quot; translation has emerged. High efficiency and low cost of machine translation make people think about whether machine translation will replace human translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.1 Advantages and disadvantages of human translation====&lt;br /&gt;
Human translation has both advantages and disadvantages. For example, human translation has the characteristics of flexibility, accuracy, high readability and humanization of language. At the same time, however, compared with machine translation, human translation is less efficient and easy to be influenced by translator's own cultural background and translation capacity so it is difficult to achieve rapid development. Before the advent of machine translation, all translation activities were done by human. Compared with machine, translators, as a bridge of cross-cultural communication, are more flexible. Translation itself is a complex activity. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Professional translators who have certain cultural background knowledge can choose different translation methods and strategies according to the similarities and differences between the two languages and cultures, so it is more flexible and accurate. The flexibility of human language enables the translator to express the meaning of the original text in a more abundant language, and accurately handle the rhetorical devices in the original text. Therefore, the target text of human translation must be more readable than that of machine translation. Human translation has a long history, and people's research on translation has never stopped. Many excellent translators have emerged in the world and put forward various translation ideas and strategies. Translation has established a relatively mature and complete theory. With the rapid development of China's economy and the increasing number of foreign exchanges, the demand for translation is on the rise. At the same time, the time spent on translation needs to be shortened. Therefore, manual translation alone cannot meet the needs of the translation market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.2 Advantages and disadvantages of machine translation====&lt;br /&gt;
Machine translation refers to thefact that a language can be transferred into another language automatically with the help of machine. The idea of machine translation was firstly put forward by Weaver in his book Translation in 1949. Since the end of the 20th century, the development of the Internet and computer technology has provided more optional software and engines for machine translation. At the same time, the corpus has become richer and more complete, greatly improving the efficiency and quality of machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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The current machine translation is based on the &amp;quot;Neural Machine Translation&amp;quot; (NMT) model of artificial intelligence. Currently, the popular web page machine translations include Youdao Translation, Baidu Translation, Google Translation and so on. Google is currently in a leading position in both voice translation and text translation. Google Translation is a service provided by Google to translate texts and web pages, providing instant translation between more than 100 languages. It can provide translations of words, sentences and web pages between any two languages it supports. The more human translation documents that can be analyzed for a particular language are, the higher the quality of the translation is. In addition, Google's web page translation is fast, especially free to use, so it has a considerable number of users in translation activities, especially students. Therefore, this paper will take Google Translation and Baidu Translation as an example to analyze the translation quality, which is representative in the market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Generally speaking, machine translation has the characteristics of high efficiency, low cost, accuracy of terminology translation, and great development potential. Machine translation is fast and efficient, for which human translation cannot match. Secondly, the price of machine translation is low, even free, which greatly reduces the economic cost and time cost for those who do not require high translation quality. In addition, compared to human translation, the huge corpus established by machine translation makes the translation of some terms, especially the latest scientific and technological terms, faster and more accurate. The accurate translation of these terms requires continuous learning by the translator, and learning requires a process, which has a certain test of the translator's learning ability and learning speed. At this point, human translation has uncertainty and lag. Finally, although the history of machine translation is short, it has achieved rapid development. With the advancement of science and technology and the development of society, the functions of machine translation will be more perfect and the quality of translation will be better. (Jin Wenlu 2019, 40)&lt;br /&gt;
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First of all, from a microscopic point of view, machine translation often has problems in the choice of word meaning, especially when there is one word with different meanings. It needs the translator to select the meaning based on the context, while machine translation cannot accurately choose the meaning of a word in combination with the context. What’s more, the word order of the translated sentence often does not conform to the word order and expression habits of the target language. From the aspect of tense, it is more accurate when translating English into Chinese, because words in English can directly change tense. However, there are sometimes problems such as no corresponding tenses when translating Chinese into English. From a macro point of view, machine translation does not have cultural sensitivity and is not accurate enough for the translation of some idioms and proverbs with strong cultural color. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.3 Relationship between machine translation and human translation====&lt;br /&gt;
Machine translation is based on human translation, and the establishment of corpus that machine translation relies on needs human participation. When translating technical terms, machine translation corpus and parallel text can greatly reduce the time when find and determine proper equivalent terms. However, the establishment of these corpora needs well-translated materials. The accuracy and usability of corpus are also affected by the quality of human translation. Therefore, they restrict and influence each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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There are more or less defects in the micro and macro aspects of machine translation. At the micro level, it mainly includes vocabulary, syntax, tense, and so on. However, at the macro level, it mainly includes text cohesion and cultural background. Therefore, human translation is essential. In addition, all machine translation inspection, modification, sorting and other work must also be carried out manually, so as to make the translation quality better and meet the requirements of communication. It can be seen that machine translation alone cannot meet the requirements of high quality translation. Translation activities cannot be separated from human participation. Therefore, with the development of machine translation, translation should be completed by both machine and human. The two are related, influenced with each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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===4. Case Study from the Perspective of Skopos Theory===&lt;br /&gt;
A Tale of Two Cities is a long historical novel by British writer Charles Dickens, first published in 1859. The story is set in the French Revolution and has a touching plot. It is one of the world's literary classics. The twin cities refer to Paris and London. The story connects these two cities and tells the story of the Parisian doctor Manette. He was persecuted by the brothers of the Marquis St. Evremonde due to injustice and was detained in the Bastille prison for 18 years. After being released from prison, Mannette's daughter Lucie fell in love with the enemy's son Darney. Thus, in the whirlpool of the French Revolution, scenes of family grievances and hatred were staged grandly. Life and death, good and evil were blended in conflict and changed in an instant. On the guillotine, Carton calmly sacrificed his life for love. （Dickens 2016）&lt;br /&gt;
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A Tale of Two Cities has a rigorous structure and condensed language. Dickens's profound thinking on revolution and humanity and his breathtaking writing talent are fully demonstrated. This paper selects the most representative classic sentences in the text for comparative analysis of translation, studies whether neural network machine translation software can accurately translate classic literary works, and explores whether neural network machine translation will replace manual translation in the context of artificial intelligence. The human translation was by Zhaolin Song. Among the many translation versions in China, Song’s translation was regarded as the version which closes to the source text most. (Feng Baoyin 2018, 232)&lt;br /&gt;
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====4.1 Case Study from the perspective of Skopos Rule====&lt;br /&gt;
In Vermeer’ opinion, the dominant rule for any translation should be the skopos rule, which means that a translation action is determined by its purposes. That is to say, the translation action should be in accordance with the target context and culture. The purposes of target text determine the translation strategies and methods used in translation process. A good translation should conform to the target culture and meet target audiences’ expectations. According to Nord, “Skopos of a particular translation task may require a ‘free’ or a ‘faithful’ translation, or anything between these two extremes, depending on the purpose for which the translation is needed”. Once the intended purposes are achieved, the translation will be considered as reasonable and proper. It is unnecessary for the translation to be equivalent to the source text. (Nord 1997, 102)&lt;br /&gt;
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Example 1: We were all going direct to heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. （Dickens 2016, 15）&lt;br /&gt;
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Google translation: 我们都直接去天堂，我们都直接去天堂- -简而言之，这一时期与目前的时期如此遥远，以至于它的一些最吵闹的当局坚持以最高的比较程度来接受它是好是坏。&lt;br /&gt;
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Baidu translation: 我们是所有的人都直接去天堂，我们都朝着另一个方向去——简而言之，这个时期和现在的时代非常相似，以至于一些最吵闹的权威坚持要接受它，不管是好是坏，只是在最高级的比较中。&lt;br /&gt;
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Human translation（Zhaolin Song）: 我们大家都在直升天堂，我们大家都在直下地狱——简而言之，那个时代和当今这个时代是如此相似，因而一些吵嚷不休的权威们也坚持认为，不管它是好是坏，都只能用“ 最……”来评价它。(Song Zhaolin 2005, 20)&lt;br /&gt;
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Analysis: &lt;br /&gt;
Since this is selected from a novel, the purpose of translation should be express the meaning and beauty of the source text. As for the Google translation, there was a mistake in translating &amp;quot;We were all going directly the other way&amp;quot;. The translated meaning is totally different from the original.  As to Baidu translation, it expressed the meaning of the original text, but the way it expressed the original meaning may confuse the target text reader. In regards to human translation, the translator of this edition adopts the combination of literal translation and free translation. In this way, the translation not only clearly expresses the original meaning, but also takes into account the literariness of the work, so that readers can feel the characteristics of the times more vividly&lt;br /&gt;
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====4.2 Case study from the perspective of coherence rule====&lt;br /&gt;
Coherence rule is also called “intra-textual coherence”, which means that the translation should be acceptable and understandable for the target audiences and be meaningful in the communicative situation and culture in which it is received. In other words, the target text should conform to the target receivers’ situation, including their given knowledge, background culture and specific circumstances. (Nord 1997, 120)&lt;br /&gt;
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Example 2: Questions, questions, questions! (Charles Dickens 2016, 56)&lt;br /&gt;
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Google Translation: 问题，问题，问题！&lt;br /&gt;
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Baidu Translation: 问题，问题，问题！&lt;br /&gt;
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Human translation（Zhaolin Song）: 问题一个接一个地提出来！(Song Zhaolin 2005, 68)&lt;br /&gt;
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Analysis: In this sentence, the original text uses three &amp;quot;questions&amp;quot; in a row to enhance the tone. However, Google and Baidu Translation directly translated it into &amp;quot;问题，问题，问题！&amp;quot;, which sounds too blunt to read. The target text translated by Google and Baidu cannot reflect the meaning of the original text. What's more, it makes it hard for target readers to get the meaning of the text. While the translator chose the free translation method to make the translation more natural and smooth. The translated text followed the coherence rule in the process of translation.&lt;br /&gt;
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Example 3: But just because he had a powerful enemy---an enemy with the power to send him to prison and to keep him there, hidden and forgotten, for eighteen years. (Charles Dickens 2016, 102)&lt;br /&gt;
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Google translation: 但是仅仅因为他有一个强大的敌人-一个有能力将他送进监狱并将其隐藏和遗忘在监狱里长达十八年的敌人。&lt;br /&gt;
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Baidu translation:只是因为他有一个强大的敌人，一个有能力把他送进监狱，把他关在那里，隐藏起来，被遗忘18年。&lt;br /&gt;
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Human translation(Song Zhaolin): 而只是因为他有一个强大的敌人-这个敌人拥有权势将他投进监狱，而且把他在那里与世隔绝、被人遗忘地关了18年。(Song Zhaolin 2005, 130)&lt;br /&gt;
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Analysis: In terms of grammar, English uses long sentences, which are connected by functional words, such as conjunctions, prepositions and relative words. Its syntactic structure is relatively complex and it is a hypotactic language. Chinese is a paratactic language. In the process of E-C translation, we often use disassembly syntax to translate a long and complex English sentence into several short and simple Chinese short sentences. From Google Translation, it directly translated the structure of the original text. The target text created by Google translation doesn't conform to target language structure. While the translation of Baidu almost in accordance with the target language structure. As to the human translation, not only was the structure, but also the meaning was perfectly expressed.&lt;br /&gt;
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====4.3 Case study from the perspective of fidelity rule====&lt;br /&gt;
Fidelity rule is also named by Vermeer as “intertextual coherence”, which puts emphasis on the relationship between the source text and target text. Based on Skopos theory, fidelity rule requires that the target text should be in accordance with the source text, which means the information contained in the source text should be exactly conveyed by the target text under the translators’ efforts. (Nord 1997, 140)&lt;br /&gt;
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Example 1: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us. （Dickens 2016, 15）&lt;br /&gt;
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Google Translation: 那是最美好的时光，那是最糟糕的时光，那是智慧的时代，那是愚昧的时代，那是信仰的时代，那是轻信的时代，那是光明的季节， 是黑暗的季节，是希望的春天，是绝望的冬天，我们眼前的一切，眼前的一切。&lt;br /&gt;
 &lt;br /&gt;
Baidu Translation: 那是最好的时代，最坏的时代，智慧的时代，愚昧的时代，信仰的时代，不信的时代，光明的季节，黑暗的季节，希望的春天，绝望的冬天，我们面前什么都有，面前什么都没有。 &lt;br /&gt;
&lt;br /&gt;
Human Translation (Zhaolin Song): : 那是最美好的时代，那是最糟糕的时代；那是个睿智的年月，那是个蒙昧的年月；那是信心百倍的时期，那是疑虑重重的时期；那是阳光普照的季节，那是黑暗笼罩的季节；那是充满希望的春天，那是让人绝望的冬天；我们面前无所不有，我们面前一无所有。（Song Zhaolin 2005, 20）&lt;br /&gt;
 &lt;br /&gt;
Analysis: This is the classic opening paragraph in &amp;quot;A Tale of Two Cities&amp;quot;, and it can be said to be very popular. On the whole, because of the simple structure of this paragraph, the two machine-translated translations all accurately express the content of the original text, but one shortcoming is that it is difficult for machine translation to express the unique beauty of rhythm of the original text.&lt;br /&gt;
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Through the analysis of the translation of commonly used machine translation software and human translation from the perspective of Skopos Theory, we can conclude that for the translation of literary works, machine translation can accurately express the meaning of the original text, even equal to manual translation if there are only some simple expressions in the source texts. However, the quality of machine translation needs to be improved some sentences with complex sentence patterns and difficult grammatical structures. Therefore, the translation of literary works by machines  still have a long way to go.&lt;br /&gt;
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===5. Conclusion===&lt;br /&gt;
The main purpose of this paper is to find a better solution between machine translation and human translation under the guidance of the Skopos Theory for optimizing weaknesses of machine translation platforms, which not only generates solutions to errors, but also improves the quality of machine translation. &lt;br /&gt;
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Theoretically, this paper applies Skopos Theory to guide human translation and machine translation of literary texts. Machine translation can be regarded as a basis of human translation, while those errors caused by machine translation can be improved manually after the completion of machine translation. Meanwhile, by employing appropriate translation methods and techniques, such as semantic conversion, amplification, omission and so on, human translation based on machine translation enormously solves errors in machine translation which further optimizes weaknesses of machine translation. Human translation process also becomes more efficient with the help of machine&lt;br /&gt;
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As for machine translation, firstly, machine translation platforms can’t replace translators on account of its incomplete corpus and limitations in transferring the cultural meaning. Secondly, errors at lexical level caused by defects of machine translation are much more than that at syntactical level. Lastly, machine translation platforms are restricted by contexts of language, situation and culture which lead to incorrect target text.&lt;br /&gt;
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In regard with human translation, from the perspective of Skopos theory, human translation is more understandable and readable to target readers than that of machine translation. It’s essential for the translator to know typical errors in machine translation, features of machine translation platforms and characteristics of the source text, which could fascinate the efficiency of translation. All in all, machine translation platforms enhance the efficiency of translating large amount of material and human translation provides a solution for machine translation of poor quality. Machine translation and human translation are complement to each other.&lt;br /&gt;
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===References===&lt;br /&gt;
* Charles Dickens. (2016). A Tale of Two Cities. Macmillian.&lt;br /&gt;
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* Fang Mengzhi 方梦之. (2011). 中国译学大辞典 [A Dictionary of Translation Studies in China] 上海外语教育出版社(leave a blank space)Shanghai Foreign Language Education Press.&lt;br /&gt;
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* Feng Baoyin(leave a blank space)冯宝茵 (2018). 从读者反应论对比两个《双城记》译本 [A comparative study of two versions of a tale of two cities from the perspective of reader response theory]. 北方文学, Northern Literature (36):232.&lt;br /&gt;
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* Hu Kaibao &amp;amp; Li Yi胡开宝 &amp;amp; 李翼. (2016). 机器翻译特征及其与人工翻译关系的研究. [Research on the characteristics of machine translation and its relationship with human translation] 中国翻译 Chinese Translation (05),10-14. &lt;br /&gt;
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* Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.&lt;br /&gt;
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* Mark Shuttleworth (2004). Dictionary of Translation Studies. Foreign Language Teaching and Research Press. 75.&lt;br /&gt;
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* Munday, J. (2001). Introducing Translation Studies: Theories and Application. London: Routeledge. 78.&lt;br /&gt;
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* Reiss, K &amp;amp; Vermeer, H. J. (1984). Groundwork for a General Theory of Translation. Tubingen: Niemeyer.&lt;br /&gt;
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* Song Zhaolin(leave a blank space)宋兆霖 (2005). 双城记 A Tale of Two Cities 中国戏剧出版社, China Drama Press.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118908</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118908"/>
		<updated>2020-12-21T15:41:22Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Toury and Descriptive translation */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing 英语笔译 202070080581==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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===key words===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but this does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, have not been covered by linguistic theory. &lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. &lt;br /&gt;
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During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
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===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. &lt;br /&gt;
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The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures.Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language.&lt;br /&gt;
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In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
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Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis.That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. &lt;br /&gt;
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Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which is direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word, which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example,“Take care. Hope to see you soon.” is  polite and emotional way to express our feelin .&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translator's mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have to consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore,proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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It is obvious that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese people often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but trasnslators have to choose one based on the context. &lt;br /&gt;
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“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, translators need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics and reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
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Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
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Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. &lt;br /&gt;
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According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:30, 21 December 2020 (UTC)&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
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The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the earliest translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
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===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the first, second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
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This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.&lt;br /&gt;
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Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, style and culture.（Zhou Xingyang,2018:11）&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,''Toward a Science of Translating''. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.（Zhao Dandan,2011:1）&lt;br /&gt;
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In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.（Nida,2004:24）&lt;br /&gt;
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Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book ''Language, Culture and Translation'', Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the response of the reader of the recipient language, and(3) the receptor language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader’s reaction to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber point out that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: words, sentences and passages, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of ''Folding Beijing'' from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of ''Folding Beijing'', there are many examples of how the translation can achieve functional equivalence with the original text at the lexical level, as follows: (Ding Juan, 2011:22)&lt;br /&gt;
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Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
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&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
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&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention and conveys what appears to be a bad temper.&lt;br /&gt;
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Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
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&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.&lt;br /&gt;
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=====2.1.2 Syntactic Level=====&lt;br /&gt;
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Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese.（Din Juan,2011:24）&lt;br /&gt;
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The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress.（Din Juan,2011:24）&lt;br /&gt;
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In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a appropriate form. The following are examples of how the English translation of ''Folding Beijing'' achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
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&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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We can see that in the translation of this passage, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the translator have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
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“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
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In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using a subordinate clause like &amp;quot;...childhood that...&amp;quot;.&lt;br /&gt;
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Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
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&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
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=====2.1.3 Discourse level=====&lt;br /&gt;
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Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in terms of discourse level. A dialogue from ''Folding Beijing'' and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Din Juan,2011:27）&lt;br /&gt;
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“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
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老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
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“可是这等于我也得撒谎。”&lt;br /&gt;
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依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
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Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
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&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
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Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translating. The form of the dialogue is not exactly translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.&lt;br /&gt;
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====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
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Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
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=====2.2.1 Rhetoric=====&lt;br /&gt;
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Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）&lt;br /&gt;
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Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.&lt;br /&gt;
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Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
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Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
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&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
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This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.&lt;br /&gt;
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Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
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&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
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In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle and he just use the word &amp;quot;monster&amp;quot;.&lt;br /&gt;
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=====2.2.2 Dialects=====&lt;br /&gt;
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The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem.（Din Juan,2011:33）&lt;br /&gt;
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For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
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In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.&lt;br /&gt;
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====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
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Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of ''Folding Beijing'' from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)&lt;br /&gt;
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=====2.3.1 Food Culture=====&lt;br /&gt;
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The city described in ''Folding Beijing'' is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.&lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
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&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.&lt;br /&gt;
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Example 3:&lt;br /&gt;
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&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator captures this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）&lt;br /&gt;
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=====2.3.2 Folk Culture=====&lt;br /&gt;
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Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
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Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
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&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is one of the major characteristics of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word to make it easy for readers to understand.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.&lt;br /&gt;
&lt;br /&gt;
=====2.3.3 Culture of Idioms=====&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
&lt;br /&gt;
The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;ate heartily&amp;quot;. Although the translation is easy to understand, but without the image that people are very hungry to eat, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot; is translated as &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; is translated as &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he kept the secret and that Yi Yan and Qin Tian might be together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of ''Folding Beijing'' from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of ''Folding Beijing'' to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
&lt;br /&gt;
Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni  202070080620 MTI英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni MTI 英语笔译 No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
&lt;br /&gt;
American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
&lt;br /&gt;
The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
&lt;br /&gt;
In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
&lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
&lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
 &lt;br /&gt;
Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
&lt;br /&gt;
Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
&lt;br /&gt;
Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
&lt;br /&gt;
Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
&lt;br /&gt;
From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
&lt;br /&gt;
Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
&lt;br /&gt;
It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
&lt;br /&gt;
In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
&lt;br /&gt;
In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
&lt;br /&gt;
======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
&lt;br /&gt;
 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
&lt;br /&gt;
In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
&lt;br /&gt;
 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
&lt;br /&gt;
An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
&lt;br /&gt;
======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
&lt;br /&gt;
Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:51, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation, 韩宛真 Han Wanzhen, 英语语言文学==	&lt;br /&gt;
&amp;lt;center&amp;gt;Han Wanzhen 韩宛真, 202020080603.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this chapter summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and  knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
&lt;br /&gt;
===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
&lt;br /&gt;
The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicit), which means that the speaker actually wants to express the meaning: the second is the explicit, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
&lt;br /&gt;
Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understanding:the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
&lt;br /&gt;
===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
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There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
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Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
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===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
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The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
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Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this chapter, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:27, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures ==&lt;br /&gt;
    陈佳欣	Chen Jiaxin 202020080593 英语语言文学&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time, until they entered China along trade routes from Central Asia in the first century AD.&lt;br /&gt;
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Buddhism is widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the similarity in form and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation(Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three periods. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposes that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposes to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang holds that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He translated 35 Buddhist Scriptures in total, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “Transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, was a Buddhist scripture translator during the Three Kingdoms period. He was the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignoring the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The dominant translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures.&lt;br /&gt;
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On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore they can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
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====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he was also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He was one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translated 39 volumes. He was proficient in both Chinese and Sanskrit languages, and advocated that as long as the translation does not violate the original meaning, there is no need to follow the original form. &lt;br /&gt;
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“Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of Indian Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25).&lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness.&lt;br /&gt;
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Another remarkable achievement is his contribution to the translation workshop. After he arrived at Chang'an, he began to organize translation workshops.With his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads) were usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China, translators could take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there were more Sanskrit texts, they had more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, and metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age was Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses. The number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators were mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also had a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who were proficient in Sanskrit has gradually increased, and the translation work did not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty was more all-sided in organization. “According to records, the translation workshop of the Tang Dynasty had as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them were rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts were more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believed that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese was mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
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The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:11, 21 December 2020 (UTC)&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi ==&lt;br /&gt;
&amp;lt;center&amp;gt;成于思	Cheng Yusi No.202020080598 比较文学与跨文化研究&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the chapter is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the chapter will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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André Lefevere; ''Translation History and Culture: A Sourcebook''; Liu Miqing; ''A Comparative Study of Chinese and Western Translation Principles''; “cultural turn”; John Dryden; translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This chapter presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, the chapter intends to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This chapter will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, paraphrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. Dryden's comparison of a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
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===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements, which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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I enjoy reading this book because it brings those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;an author and a translator&amp;quot; to &amp;quot;a master and a slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracts two statements by Dryden and relatively places them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracts an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposes three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposes a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argues that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compares a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars, like Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) &lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works were with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
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About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
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===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
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In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
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Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
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The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
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He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
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The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
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Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
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Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
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The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognizes that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School and New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
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Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot;, and he gives his reasons: first, the lack of compass of theories which can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current superficial, assertive and rational views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
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The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
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Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulated that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
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Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation principles that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the feature of the tradition of Chinese translation changes from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
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As such, the flourishing of translation is bound to be our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
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The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
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The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
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The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
&lt;br /&gt;
Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
&lt;br /&gt;
Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
&lt;br /&gt;
Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argues that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provides a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
&lt;br /&gt;
===4. Comparison between the books of ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
&lt;br /&gt;
===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
&lt;br /&gt;
===4.2 From the aspect of the arrangement===&lt;br /&gt;
&lt;br /&gt;
Both of these two books are arranged in theme rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters, which are concerned with the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. As to the longer essays, they are collected in the last chapter. &lt;br /&gt;
&lt;br /&gt;
Liu arranges his book differently. Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includs the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which helps readers understanding translation principles.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In conclusion, the paper intends to help readers to have better understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of a translator to a slave. Then, it figures out the reasons of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 12:08, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
&lt;br /&gt;
André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
&lt;br /&gt;
Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
&lt;br /&gt;
Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
&lt;br /&gt;
Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
&lt;br /&gt;
Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
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Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
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Ancient Translation Period&lt;br /&gt;
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The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
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Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）&lt;br /&gt;
Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
&lt;br /&gt;
A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
&lt;br /&gt;
(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
&lt;br /&gt;
Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
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Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
&lt;br /&gt;
Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
&lt;br /&gt;
===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
&lt;br /&gt;
===Analysis of Theoretical Research Status===&lt;br /&gt;
&lt;br /&gt;
Descriptive Analysis of Translation Theory Research&lt;br /&gt;
&lt;br /&gt;
First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
&lt;br /&gt;
The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
&lt;br /&gt;
First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
&lt;br /&gt;
Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
&lt;br /&gt;
===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
&lt;br /&gt;
Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645 MTI 英语口译==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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&lt;br /&gt;
===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
&lt;br /&gt;
On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.（Venuti，1995）&lt;br /&gt;
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Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku,2011）&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku,2011）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words.（Zhang le 2017，37）&lt;br /&gt;
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[Take Chinese and English for example ,the word “落汤鸡”can not be translated as “soup chicken”,in literal, as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain, but in England ,a country with developed industry, people are no longer farming ,so it may be hard for them to understand as they have not seen it before, instead ,the familiar thing they can image is the drowned mouse ,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily, after the rain ,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
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To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
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Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just in the  south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou 苏州(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan 银川(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
&lt;br /&gt;
For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
&lt;br /&gt;
蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
&lt;br /&gt;
For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* wenku.(2011).翻译中的归化异化.&amp;quot;Domestication and Foreignization in Translation&amp;quot; .https://wenku.baidu.com/view/a63459ee81c758f5f61f67e0.html.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:28, 20 December 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recording two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) &lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. &lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） &lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei etc. (Yi Jing,2009)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
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'''3.2.2 The awareness of an independent discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )&lt;br /&gt;
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Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) &lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
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Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
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Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 &lt;br /&gt;
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The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
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Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)&lt;br /&gt;
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The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )&lt;br /&gt;
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4.4.2 Discipline structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)&lt;br /&gt;
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From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
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Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
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Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
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Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
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Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].&lt;br /&gt;
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Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
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Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.&lt;br /&gt;
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Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
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Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658,外国语言学及应用语言学 Foreign Linguistics and Applied Linguistics==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;许晶Xu Jing  202020080658&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Translation Studies, translation education, translation talents&lt;br /&gt;
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==='''题目'''===&lt;br /&gt;
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对中国翻译学学习的反思&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。&lt;br /&gt;
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==='''关键词'''=== &lt;br /&gt;
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翻译学，翻译教育，翻译人才&lt;br /&gt;
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==='''1. Introduction'''===&lt;br /&gt;
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1.1. The Connotation of Translation Studies&lt;br /&gt;
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Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
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Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
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Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
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Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
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1.2. The Significance of Translation Studies&lt;br /&gt;
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With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
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As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
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Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
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==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
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Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.&lt;br /&gt;
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2.1. The Exploration Period of Translation Studies &lt;br /&gt;
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In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
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The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.&lt;br /&gt;
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However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, as well as translation criticism, translation publishing, and translation management, etc.&lt;br /&gt;
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At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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2.2. The Development Period of Translation Studies &lt;br /&gt;
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At the beginning of this period, translation studies explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge. Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)&lt;br /&gt;
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2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
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In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers should help students to acquire the industry knowledge, technology, skills and accomplishments that required by the language service market. Teachers can invite industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
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3.1. Translation Education &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018）&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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In addition, due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)&lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019）&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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3.2.2. Insufficient background knowledge &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information.&lt;br /&gt;
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With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
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3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
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==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.&lt;br /&gt;
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4.1. Translation Education&lt;br /&gt;
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Translation education plays an important role in cultivating translation talents, and a good translation education system will provide a good environment for students to learn Translation Studies, so it is necessary to improve translation education system.&lt;br /&gt;
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4.1.1. Improve Teaching Mode&lt;br /&gt;
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The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019)&lt;br /&gt;
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4.1.2. Strengthen Faculty Force&lt;br /&gt;
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Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019）&lt;br /&gt;
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Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
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4.1.3. Broaden the academic vision of translation&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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4.2. Students &lt;br /&gt;
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Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
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4.2.1. Expanding knowledge&lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
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Students must spend enough time in practicing. They can take part in many social activities to experience different aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
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From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 15:23, 20 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.&lt;br /&gt;
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Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].&lt;br /&gt;
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Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.&lt;br /&gt;
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Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.&lt;br /&gt;
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Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. &lt;br /&gt;
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Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16&lt;br /&gt;
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Linlin.林琳.(2016).英语文学翻译学习现状及改善措施.[ The Status Quo and Improvement Measures of English Literature Translation Learning].西部素质教育[''Western China Quality Education''] 65.&lt;br /&gt;
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Luo Feng.罗峰.(2011).从翻译学学科建设看翻译学在中国的发展.[On the Development of Translation Studies As A Discipline in China].琼州学院学报[''Journal of Qiongzhou University]''115-116.&lt;br /&gt;
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Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.&lt;br /&gt;
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Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.&lt;br /&gt;
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Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].&lt;br /&gt;
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Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. &lt;br /&gt;
&lt;br /&gt;
Xu Jun, Mu Lei. 许钧, 穆雷.(2009).中国翻译学研究30年 (1978 -2007).[30 years of Chinese Translation Studies (1978 -2007)].外国语[''Journal of Foreign Languages'']77-87.&lt;br /&gt;
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Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.&lt;br /&gt;
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Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.&lt;br /&gt;
&lt;br /&gt;
Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.&lt;br /&gt;
&lt;br /&gt;
Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
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===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
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===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on domestication strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
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====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;The highest art can only be understood by a few&amp;quot;, &amp;quot;Art has its own many grades, so the appreciation of art also has many grades. &amp;quot;. (Liang Shiqiu: R.O.C. 23) &lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
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====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously&lt;br /&gt;
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In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
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Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
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When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Irving Babbitt, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
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====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.&lt;br /&gt;
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For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
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EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
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伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
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This man hath my consent to marry her．&lt;br /&gt;
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是我答应把我女儿嫁给他的&lt;br /&gt;
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Stand forth，Lysander．&lt;br /&gt;
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走上前来，拉山德。&lt;br /&gt;
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And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
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殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
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In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
&lt;br /&gt;
拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
&lt;br /&gt;
否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
&lt;br /&gt;
First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
&lt;br /&gt;
Translation of Liang Shiqiu:&lt;br /&gt;
&lt;br /&gt;
赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
&lt;br /&gt;
否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
&lt;br /&gt;
HELENA She was a vixen when she went toschool: &lt;br /&gt;
&lt;br /&gt;
And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
&lt;br /&gt;
海 上学时她就是个狐狸精。&lt;br /&gt;
&lt;br /&gt;
她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
&lt;br /&gt;
Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
&lt;br /&gt;
Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
&lt;br /&gt;
For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
&lt;br /&gt;
Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
&lt;br /&gt;
Liang’s version :&lt;br /&gt;
&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
&lt;br /&gt;
For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
&lt;br /&gt;
By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
&lt;br /&gt;
Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
 &lt;br /&gt;
Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
          &lt;br /&gt;
Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
&lt;br /&gt;
Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
  &lt;br /&gt;
Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
&lt;br /&gt;
Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
&lt;br /&gt;
Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
&lt;br /&gt;
Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
&lt;br /&gt;
===Toury and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
&lt;br /&gt;
According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
According to Toury, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
&lt;br /&gt;
Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
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==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，使读者深刻理解描写性翻译研究的地位。&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
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He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
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====2.4 Polysystem Theory====&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem(多元体系派) is not satisfied with the achievements made by the translation studies(翻译研究派). It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
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====2.5 Gideon Toury&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
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====2.6 Snell-Hornby&lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
&lt;br /&gt;
Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
&lt;br /&gt;
====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
    &lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
&lt;br /&gt;
Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
&lt;br /&gt;
(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
&lt;br /&gt;
(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
&lt;br /&gt;
The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory is undoubtedly meaningful and instructive, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
&lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
&lt;br /&gt;
====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
&lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
&lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Reference===&lt;br /&gt;
&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
&lt;br /&gt;
J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby. (1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满, Liu Fang 刘芳. (2005). 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究：从规范走向描写[Translation Studies: From the Prescriptive to the Descriptive Approach]. 中国翻译[Chinese Translation  Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. (2008). 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰. (2002). 多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
&lt;br /&gt;
==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
 &lt;br /&gt;
Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
===Abstract ===   &lt;br /&gt;
&lt;br /&gt;
Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
&lt;br /&gt;
Key words: translation strategies and translational problems.&lt;br /&gt;
&lt;br /&gt;
This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
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===Content===&lt;br /&gt;
&lt;br /&gt;
Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
&lt;br /&gt;
The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
&lt;br /&gt;
Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
&lt;br /&gt;
Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
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===References===&lt;br /&gt;
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Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;br /&gt;
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== The Comparison of Machine Translation and Human Translation from the Perspective of Skopos Theory---A Case Study of E-C Translation of ''A Tale of Two Cities'' as an example - 欧阳静兰 OuYang Jinglan 202020080630==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;欧阳静兰 OuYang Jinglan &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid development of globalization and the Internet, international communication is expanding, and a lot of information needs to be translated. Due to the low efficiency of human translation, machine translation is indispensable today. However, due to the limitations of machine translation, the quality of machine translation is still worrying. Therefore, from the perspective of Skopos theory, this paper takes the E-C translation of ''A Tale of Two Cities'' as an example to analyze the machine translation of Google translation and Baidu translation, and compare it with the translation of Song Zhaolin, so as to explore the characteristics of machine translation and human translation, try to discuss the irreplaceable nature of human translation, and discuss how to combine machine translation with human translation to improve the quality and efficiency of translation. This paper is divided into five parts: the first part introduces the background of the current translation environment; the second part introduces Skopos Theory and discusses the feasibility of Skopos Theory in analyzing machine translation and human translation; the third part introduces the advantages and disadvantages of machine translation and human translation, and discusses the relationship between them; the fourth part is a case study to see machine translation from the perspective of Skopos theory Compared with manual translation, it is concluded that machine translation and manual translation must be combined to improve the efficiency and quality of translation. The fifth part is a summary of this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Skopos Theory, machine translation, human translation&lt;br /&gt;
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===题目===&lt;br /&gt;
目的论视角下机器翻译和人工翻译的对比---以《双城记》的英汉翻译为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着全球化和互联网的迅速发展，国际的交流日益扩大，大量信息需要翻译。由于人工翻译效率低下，在越来越强调效率和质量的今天，机器翻译必不可少。然而，由于机器翻译的局限性，机器翻译的质量仍然堪忧。因此,本文以目的论视角, 以《双城记》的英汉翻译为例，分析谷歌翻译和百度翻译的机器译文, 与宋兆霖版本的中文译本对比，由此探析机器翻译与人工翻译的特点,尝试论述人工翻译的不可替代性, 并讨论如何将机器翻译与人工翻译结合提高翻译的质量和效率。本文分为五个部分，第一部分对当前翻译环境背景的介绍；第二部分对目的论进行简介，并讨论目的论用于分析机器翻译和人工翻译的可行性；第三部分介绍机器翻译和人工翻译的优缺点，并讨论他们之间的关系；第四部分进行案例分析，从目的论视角下看机器翻译与人工翻译的对比，得出提高翻译效率与质量必须将机器翻译与人工翻译相结合。第五部分对全文进行总结。&lt;br /&gt;
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===关键词===&lt;br /&gt;
目的论 机器翻译 人工翻译 &lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
With the development of globalization, the growth of Internet and artificial intelligence, machine translation becomes an indispensable choice in today’s society. Compared with human translation, machine translation has the advantages of efficiency. As the traditional translation method, human translation can guarantee the accuracy of the text. In this information era, many people are thinking whether human translation will be replaced by machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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In September 2016, Google released the neural network translation system, which greatly improved the quality of machine translation. In November, Baidu CEO Robin Li stated at the Wuzhen Summit of the 3rd World Internet Conference that Baidu's artificial intelligence product &amp;quot;automatic translation&amp;quot; will enter a practical state. Therefore, this paper will put the original text of Tale of Two Cities in two representative public machine translation engines at home and abroad, &amp;quot;Google&amp;quot; and &amp;quot;Baidu&amp;quot;, to obtain the machine translation. Selecting texts from the famous classical novel ''A Tale of Two Cities'', and comparing machine translations and human translations based on this novel from the perspective of Skopos theory, this paper aims to investigate the relationship between human translation and machine translation and their developments in the future.  (Hu Kaibao 2016, 10)&lt;br /&gt;
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=== 2. Overview of Skopos Theory ===&lt;br /&gt;
In the 1970s, some eminent German translation theory scholars first proposed functional translation theory. Translation theorist Katharina Reiss divides text into three types: informative, expressive and operational. She suggested that according to different text types, different translation methods should be used for analysis, and different translation criticism standards should be adopted, that is, text types, language functions and translation strategies should be combined. In the translation process, it’s essential to focus on the functional characteristics of the target text. Her text type theory and translation criticism mode can be regarded as the beginning of functionalist Skopos theory. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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Hans Vermeer is Reiss's student. He further developed Reiss's theory and proposed Skopos theory. He believed that Skopos theory is based on the source text, and then may produce a series of purposeful and effective behaviors. The core of this theory is that &amp;quot;the purpose of translation determines translation strategies and method to achieve the expected purpose of translation&amp;quot; (Reiss &amp;amp; Vermeer 1984), and German scholars Justa Holz Manttari and Christian Nord further developed this theory which based on the theory of communication and behavior, and they  proposed that translation theory is not a simple translation between words and sentences, but a kind of conscious behavior for the purpose of cultural communication. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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====2.1 Three Rules of Skopos Theory====&lt;br /&gt;
The word “Skopos” is originated from the Greek language and means &amp;quot;purpose&amp;quot;. Skopos theory refers to the process of translation is determined by the purpose of the translation, so the purpose rule is the highest one of translation. Generally speaking, skopos theory includes three principles: Skopos rule, coherence rule (intra-textual coherence) and fidelity rule (also known as &amp;quot;inter-textual coherence&amp;quot;). (Nord 2001, 20)&lt;br /&gt;
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Skopos theory believes that the important principle to be followed is the &amp;quot;purpose&amp;quot; rule, it is the core rule of Skopos Theory: the process of translation should be based on the realization of the communicative function in the target language culture, and the goal to be achieved determines the entire process of translation, that is, the method determines the result. Vermeer differentiated the purpose of translation. He believes that the purpose of translation should include three levels: the purpose of the translator; the purpose of communication; the purpose of specific translation strategies. In most cases, a translator has a certain purpose before translation, such as being entrusted by a translation company, market demand or the need to introduce a technology. In most cases, &amp;quot;purpose&amp;quot; refers to the communicative purpose of translation. Under the guidance of the purpose of communication, the translator can have more space to interpret and adjust the original text. (Nord 2001, 78)&lt;br /&gt;
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To achieve the communicative and interative function between the target text and the target receptor, the target text needs to conform to the linguistic coherence, and be understood and accepted by the readers in the context of the target language and culture. The principle of coherence means that the target text must conform to the intra-textual coherence, that is, the translation must be understood by the target reader and be meaningful in the culture of the target language and the communication environment in which the translation is used. “The principle of coherence requires that the information generated by the translator (target text) must be interpreted in a manner consistent with the context of the target reader.” (Shuttleworth 2004: 75) This means the translator should maximize the translation Semantic coherence and makes the translation understandable and acceptable to the target readers. The target text can help target readers understand and successfully exchange information.&lt;br /&gt;
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The fidelity rule refers to the inter-textual coherence between the original text and the target text, which requires &amp;quot;consistency between the target text and the original text&amp;quot; (Munday, 2010: 79). Therefore, in the translation process, the translator should not only be faithful to the original text, but also transfer the writing style and cultural factors existed in the source text. This principle requires translator to follow the purpose of translation.&lt;br /&gt;
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In the process of translation, translators should follow three principles according to Skopos Theory: the Skopos rule, the coherence rule and the fidelity rule. Among these three rules in Skopos Theory, the skopos rule is the primary principle translators should adopt in the process of translation, and the coherence rule and the fidelity rule must follow the skopos rule. So in the case of translation practice, fidelity rule is subordinate to coherence rule, and both are subordinate to the Skopos rule. In a word, Skopos rule plays a decisive role in translation process, and it should be considered first in translation. (Fang Mengzhi 2011, 20)&lt;br /&gt;
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====2.3 Application of Skopos Theory====&lt;br /&gt;
Skopos Theory is different from traditional theories which overemphasize the features of language rules. With regard to Skopos Theory, it requires that translators should not only consider the language but also take account of factors beyond texts and language like the purpose of translation. As for ''A Tale of Two Cities'', the purpose is to make the target reader feel the same as the source target reader.  Since this is a literary text, the cultural factors and rhetorical methods used in the source texts should be reflected in the target text. In addition, the feeling of the target text reader should be taken into consideration in the process of translation. Therefore, the translation should conform to habits of the target language. But guided by Skopos Theory, the advantages and disadvantages of machine translation can be easily analyzed, so that a better solution can be founded between human translation and machine translation.&lt;br /&gt;
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===3. Machine Translation and Human Translation===&lt;br /&gt;
Translation activities have a long history. As far as China is concerned, translation has a history of more than two thousand years. However, the translation tools have rarely changed, and the translations are always been done by &amp;quot;translators&amp;quot;. With the development of science and technology and the acceleration of globalization, there is an increasing need for translation. Therefore， &amp;quot;machine&amp;quot; translation has emerged. High efficiency and low cost of machine translation make people think about whether machine translation will replace human translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.1 Advantages and disadvantages of human translation====&lt;br /&gt;
Human translation has both advantages and disadvantages. For example, human translation has the characteristics of flexibility, accuracy, high readability and humanization of language. At the same time, however, compared with machine translation, human translation is less efficient and easy to be influenced by translator's own cultural background and translation capacity so it is difficult to achieve rapid development. Before the advent of machine translation, all translation activities were done by human. Compared with machine, translators, as a bridge of cross-cultural communication, are more flexible. Translation itself is a complex activity. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Professional translators who have certain cultural background knowledge can choose different translation methods and strategies according to the similarities and differences between the two languages and cultures, so it is more flexible and accurate. The flexibility of human language enables the translator to express the meaning of the original text in a more abundant language, and accurately handle the rhetorical devices in the original text. Therefore, the target text of human translation must be more readable than that of machine translation. Human translation has a long history, and people's research on translation has never stopped. Many excellent translators have emerged in the world and put forward various translation ideas and strategies. Translation has established a relatively mature and complete theory. With the rapid development of China's economy and the increasing number of foreign exchanges, the demand for translation is on the rise. At the same time, the time spent on translation needs to be shortened. Therefore, manual translation alone cannot meet the needs of the translation market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.2 Advantages and disadvantages of machine translation====&lt;br /&gt;
Machine translation refers to thefact that a language can be transferred into another language automatically with the help of machine. The idea of machine translation was firstly put forward by Weaver in his book Translation in 1949. Since the end of the 20th century, the development of the Internet and computer technology has provided more optional software and engines for machine translation. At the same time, the corpus has become richer and more complete, greatly improving the efficiency and quality of machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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The current machine translation is based on the &amp;quot;Neural Machine Translation&amp;quot; (NMT) model of artificial intelligence. Currently, the popular web page machine translations include Youdao Translation, Baidu Translation, Google Translation and so on. Google is currently in a leading position in both voice translation and text translation. Google Translation is a service provided by Google to translate texts and web pages, providing instant translation between more than 100 languages. It can provide translations of words, sentences and web pages between any two languages it supports. The more human translation documents that can be analyzed for a particular language are, the higher the quality of the translation is. In addition, Google's web page translation is fast, especially free to use, so it has a considerable number of users in translation activities, especially students. Therefore, this paper will take Google Translation and Baidu Translation as an example to analyze the translation quality, which is representative in the market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Generally speaking, machine translation has the characteristics of high efficiency, low cost, accuracy of terminology translation, and great development potential. Machine translation is fast and efficient, for which human translation cannot match. Secondly, the price of machine translation is low, even free, which greatly reduces the economic cost and time cost for those who do not require high translation quality. In addition, compared to human translation, the huge corpus established by machine translation makes the translation of some terms, especially the latest scientific and technological terms, faster and more accurate. The accurate translation of these terms requires continuous learning by the translator, and learning requires a process, which has a certain test of the translator's learning ability and learning speed. At this point, human translation has uncertainty and lag. Finally, although the history of machine translation is short, it has achieved rapid development. With the advancement of science and technology and the development of society, the functions of machine translation will be more perfect and the quality of translation will be better. (Jin Wenlu 2019, 40)&lt;br /&gt;
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First of all, from a microscopic point of view, machine translation often has problems in the choice of word meaning, especially when there is one word with different meanings. It needs the translator to select the meaning based on the context, while machine translation cannot accurately choose the meaning of a word in combination with the context. What’s more, the word order of the translated sentence often does not conform to the word order and expression habits of the target language. From the aspect of tense, it is more accurate when translating English into Chinese, because words in English can directly change tense. However, there are sometimes problems such as no corresponding tenses when translating Chinese into English. From a macro point of view, machine translation does not have cultural sensitivity and is not accurate enough for the translation of some idioms and proverbs with strong cultural color. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.3 Relationship between machine translation and human translation====&lt;br /&gt;
Machine translation is based on human translation, and the establishment of corpus that machine translation relies on needs human participation. When translating technical terms, machine translation corpus and parallel text can greatly reduce the time when find and determine proper equivalent terms. However, the establishment of these corpora needs well-translated materials. The accuracy and usability of corpus are also affected by the quality of human translation. Therefore, they restrict and influence each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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There are more or less defects in the micro and macro aspects of machine translation. At the micro level, it mainly includes vocabulary, syntax, tense, and so on. However, at the macro level, it mainly includes text cohesion and cultural background. Therefore, human translation is essential. In addition, all machine translation inspection, modification, sorting and other work must also be carried out manually, so as to make the translation quality better and meet the requirements of communication. It can be seen that machine translation alone cannot meet the requirements of high quality translation. Translation activities cannot be separated from human participation. Therefore, with the development of machine translation, translation should be completed by both machine and human. The two are related, influenced with each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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===4. Case Study from the Perspective of Skopos Theory===&lt;br /&gt;
A Tale of Two Cities is a long historical novel by British writer Charles Dickens, first published in 1859. The story is set in the French Revolution and has a touching plot. It is one of the world's literary classics. The twin cities refer to Paris and London. The story connects these two cities and tells the story of the Parisian doctor Manette. He was persecuted by the brothers of the Marquis St. Evremonde due to injustice and was detained in the Bastille prison for 18 years. After being released from prison, Mannette's daughter Lucie fell in love with the enemy's son Darney. Thus, in the whirlpool of the French Revolution, scenes of family grievances and hatred were staged grandly. Life and death, good and evil were blended in conflict and changed in an instant. On the guillotine, Carton calmly sacrificed his life for love. （Dickens 2016）&lt;br /&gt;
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A Tale of Two Cities has a rigorous structure and condensed language. Dickens's profound thinking on revolution and humanity and his breathtaking writing talent are fully demonstrated. This paper selects the most representative classic sentences in the text for comparative analysis of translation, studies whether neural network machine translation software can accurately translate classic literary works, and explores whether neural network machine translation will replace manual translation in the context of artificial intelligence. The human translation was by Zhaolin Song. Among the many translation versions in China, Song’s translation was regarded as the version which closes to the source text most. (Feng Baoyin 2018, 232)&lt;br /&gt;
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====4.1 Case Study from the perspective of Skopos Rule====&lt;br /&gt;
In Vermeer’ opinion, the dominant rule for any translation should be the skopos rule, which means that a translation action is determined by its purposes. That is to say, the translation action should be in accordance with the target context and culture. The purposes of target text determine the translation strategies and methods used in translation process. A good translation should conform to the target culture and meet target audiences’ expectations. According to Nord, “Skopos of a particular translation task may require a ‘free’ or a ‘faithful’ translation, or anything between these two extremes, depending on the purpose for which the translation is needed”. Once the intended purposes are achieved, the translation will be considered as reasonable and proper. It is unnecessary for the translation to be equivalent to the source text. (Nord 1997, 102)&lt;br /&gt;
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Example 1: We were all going direct to heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. （Dickens 2016, 15）&lt;br /&gt;
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Google translation: 我们都直接去天堂，我们都直接去天堂- -简而言之，这一时期与目前的时期如此遥远，以至于它的一些最吵闹的当局坚持以最高的比较程度来接受它是好是坏。&lt;br /&gt;
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Baidu translation: 我们是所有的人都直接去天堂，我们都朝着另一个方向去——简而言之，这个时期和现在的时代非常相似，以至于一些最吵闹的权威坚持要接受它，不管是好是坏，只是在最高级的比较中。&lt;br /&gt;
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Human translation（Zhaolin Song）: 我们大家都在直升天堂，我们大家都在直下地狱——简而言之，那个时代和当今这个时代是如此相似，因而一些吵嚷不休的权威们也坚持认为，不管它是好是坏，都只能用“ 最……”来评价它。(Song Zhaolin 2005, 20)&lt;br /&gt;
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Analysis: &lt;br /&gt;
Since this is selected from a novel, the purpose of translation should be express the meaning and beauty of the source text. As for the Google translation, there was a mistake in translating &amp;quot;We were all going directly the other way&amp;quot;. The translated meaning is totally different from the original.  As to Baidu translation, it expressed the meaning of the original text, but the way it expressed the original meaning may confuse the target text reader. In regards to human translation, the translator of this edition adopts the combination of literal translation and free translation. In this way, the translation not only clearly expresses the original meaning, but also takes into account the literariness of the work, so that readers can feel the characteristics of the times more vividly&lt;br /&gt;
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====4.2 Case study from the perspective of coherence rule====&lt;br /&gt;
Coherence rule is also called “intra-textual coherence”, which means that the translation should be acceptable and understandable for the target audiences and be meaningful in the communicative situation and culture in which it is received. In other words, the target text should conform to the target receivers’ situation, including their given knowledge, background culture and specific circumstances. (Nord 1997, 120)&lt;br /&gt;
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Example 2: Questions, questions, questions! (Charles Dickens 2016, 56)&lt;br /&gt;
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Google Translation: 问题，问题，问题！&lt;br /&gt;
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Baidu Translation: 问题，问题，问题！&lt;br /&gt;
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Human translation（Zhaolin Song）: 问题一个接一个地提出来！(Song Zhaolin 2005, 68)&lt;br /&gt;
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Analysis: In this sentence, the original text uses three &amp;quot;questions&amp;quot; in a row to enhance the tone. However, Google and Baidu Translation directly translated it into &amp;quot;问题，问题，问题！&amp;quot;, which sounds too blunt to read. The target text translated by Google and Baidu cannot reflect the meaning of the original text. What's more, it makes it hard for target readers to get the meaning of the text. While the translator chose the free translation method to make the translation more natural and smooth. The translated text followed the coherence rule in the process of translation.&lt;br /&gt;
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Example 3: But just because he had a powerful enemy---an enemy with the power to send him to prison and to keep him there, hidden and forgotten, for eighteen years. (Charles Dickens 2016, 102)&lt;br /&gt;
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Google translation: 但是仅仅因为他有一个强大的敌人-一个有能力将他送进监狱并将其隐藏和遗忘在监狱里长达十八年的敌人。&lt;br /&gt;
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Baidu translation:只是因为他有一个强大的敌人，一个有能力把他送进监狱，把他关在那里，隐藏起来，被遗忘18年。&lt;br /&gt;
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Human translation(Song Zhaolin): 而只是因为他有一个强大的敌人-这个敌人拥有权势将他投进监狱，而且把他在那里与世隔绝、被人遗忘地关了18年。(Song Zhaolin 2005, 130)&lt;br /&gt;
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Analysis: In terms of grammar, English uses long sentences, which are connected by functional words, such as conjunctions, prepositions and relative words. Its syntactic structure is relatively complex and it is a hypotactic language. Chinese is a paratactic language. In the process of E-C translation, we often use disassembly syntax to translate a long and complex English sentence into several short and simple Chinese short sentences. From Google Translation, it directly translated the structure of the original text. The target text created by Google translation doesn't conform to target language structure. While the translation of Baidu almost in accordance with the target language structure. As to the human translation, not only was the structure, but also the meaning was perfectly expressed.&lt;br /&gt;
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====4.3 Case study from the perspective of fidelity rule====&lt;br /&gt;
Fidelity rule is also named by Vermeer as “intertextual coherence”, which puts emphasis on the relationship between the source text and target text. Based on Skopos theory, fidelity rule requires that the target text should be in accordance with the source text, which means the information contained in the source text should be exactly conveyed by the target text under the translators’ efforts. (Nord 1997, 140)&lt;br /&gt;
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Example 1: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us. （Dickens 2016, 15）&lt;br /&gt;
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Google Translation: 那是最美好的时光，那是最糟糕的时光，那是智慧的时代，那是愚昧的时代，那是信仰的时代，那是轻信的时代，那是光明的季节， 是黑暗的季节，是希望的春天，是绝望的冬天，我们眼前的一切，眼前的一切。&lt;br /&gt;
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Baidu Translation: 那是最好的时代，最坏的时代，智慧的时代，愚昧的时代，信仰的时代，不信的时代，光明的季节，黑暗的季节，希望的春天，绝望的冬天，我们面前什么都有，面前什么都没有。 &lt;br /&gt;
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Human Translation (Zhaolin Song): : 那是最美好的时代，那是最糟糕的时代；那是个睿智的年月，那是个蒙昧的年月；那是信心百倍的时期，那是疑虑重重的时期；那是阳光普照的季节，那是黑暗笼罩的季节；那是充满希望的春天，那是让人绝望的冬天；我们面前无所不有，我们面前一无所有。（Song Zhaolin 2005, 20）&lt;br /&gt;
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Analysis: This is the classic opening paragraph in &amp;quot;A Tale of Two Cities&amp;quot;, and it can be said to be very popular. On the whole, because of the simple structure of this paragraph, the two machine-translated translations all accurately express the content of the original text, but one shortcoming is that it is difficult for machine translation to express the unique beauty of rhythm of the original text.&lt;br /&gt;
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Through the analysis of the translation of commonly used machine translation software and human translation from the perspective of Skopos Theory, we can conclude that for the translation of literary works, machine translation can accurately express the meaning of the original text, even equal to manual translation if there are only some simple expressions in the source texts. However, the quality of machine translation needs to be improved some sentences with complex sentence patterns and difficult grammatical structures. Therefore, the translation of literary works by machines  still have a long way to go.&lt;br /&gt;
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===5. Conclusion===&lt;br /&gt;
The main purpose of this paper is to find a better solution between machine translation and human translation under the guidance of the Skopos Theory for optimizing weaknesses of machine translation platforms, which not only generates solutions to errors, but also improves the quality of machine translation. &lt;br /&gt;
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Theoretically, this paper applies Skopos Theory to guide human translation and machine translation of literary texts. Machine translation can be regarded as a basis of human translation, while those errors caused by machine translation can be improved manually after the completion of machine translation. Meanwhile, by employing appropriate translation methods and techniques, such as semantic conversion, amplification, omission and so on, human translation based on machine translation enormously solves errors in machine translation which further optimizes weaknesses of machine translation. Human translation process also becomes more efficient with the help of machine&lt;br /&gt;
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As for machine translation, firstly, machine translation platforms can’t replace translators on account of its incomplete corpus and limitations in transferring the cultural meaning. Secondly, errors at lexical level caused by defects of machine translation are much more than that at syntactical level. Lastly, machine translation platforms are restricted by contexts of language, situation and culture which lead to incorrect target text.&lt;br /&gt;
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In regard with human translation, from the perspective of Skopos theory, human translation is more understandable and readable to target readers than that of machine translation. It’s essential for the translator to know typical errors in machine translation, features of machine translation platforms and characteristics of the source text, which could fascinate the efficiency of translation. All in all, machine translation platforms enhance the efficiency of translating large amount of material and human translation provides a solution for machine translation of poor quality. Machine translation and human translation are complement to each other.&lt;br /&gt;
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===References===&lt;br /&gt;
* Charles Dickens. (2016). A Tale of Two Cities. Macmillian.&lt;br /&gt;
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* Fang Mengzhi 方梦之. (2011). 中国译学大辞典 [A Dictionary of Translation Studies in China] 上海外语教育出版社(leave a blank space)Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
* Feng Baoyin(leave a blank space)冯宝茵 (2018). 从读者反应论对比两个《双城记》译本 [A comparative study of two versions of a tale of two cities from the perspective of reader response theory]. 北方文学, Northern Literature (36):232.&lt;br /&gt;
&lt;br /&gt;
* Hu Kaibao &amp;amp; Li Yi胡开宝 &amp;amp; 李翼. (2016). 机器翻译特征及其与人工翻译关系的研究. [Research on the characteristics of machine translation and its relationship with human translation] 中国翻译 Chinese Translation (05),10-14. &lt;br /&gt;
&lt;br /&gt;
* Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.&lt;br /&gt;
&lt;br /&gt;
* Mark Shuttleworth (2004). Dictionary of Translation Studies. Foreign Language Teaching and Research Press. 75.&lt;br /&gt;
&lt;br /&gt;
* Munday, J. (2001). Introducing Translation Studies: Theories and Application. London: Routeledge. 78.&lt;br /&gt;
&lt;br /&gt;
* Reiss, K &amp;amp; Vermeer, H. J. (1984). Groundwork for a General Theory of Translation. Tubingen: Niemeyer.&lt;br /&gt;
&lt;br /&gt;
* Song Zhaolin(leave a blank space)宋兆霖 (2005). 双城记 A Tale of Two Cities 中国戏剧出版社, China Drama Press.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118897</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118897"/>
		<updated>2020-12-21T15:39:29Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Toury and Descriptive translation */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing 英语笔译 202070080581==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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===key words===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but this does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, have not been covered by linguistic theory. &lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. &lt;br /&gt;
&lt;br /&gt;
During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
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===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. &lt;br /&gt;
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The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures.Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language.&lt;br /&gt;
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In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
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Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis.That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. &lt;br /&gt;
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Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which is direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word, which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example,“Take care. Hope to see you soon.” is  polite and emotional way to express our feelin .&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translator's mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have to consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore,proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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It is obvious that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese people often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but trasnslators have to choose one based on the context. &lt;br /&gt;
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“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, translators need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics and reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
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Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
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Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. &lt;br /&gt;
&lt;br /&gt;
According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:30, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the earliest translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the first, second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
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This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, style and culture.（Zhou Xingyang,2018:11）&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,''Toward a Science of Translating''. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.（Zhao Dandan,2011:1）&lt;br /&gt;
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In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.（Nida,2004:24）&lt;br /&gt;
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Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book ''Language, Culture and Translation'', Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the response of the reader of the recipient language, and(3) the receptor language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader’s reaction to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber point out that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: words, sentences and passages, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of ''Folding Beijing'' from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of ''Folding Beijing'', there are many examples of how the translation can achieve functional equivalence with the original text at the lexical level, as follows: (Ding Juan, 2011:22)&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
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&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention and conveys what appears to be a bad temper.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.&lt;br /&gt;
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=====2.1.2 Syntactic Level=====&lt;br /&gt;
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Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese.（Din Juan,2011:24）&lt;br /&gt;
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The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress.（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a appropriate form. The following are examples of how the English translation of ''Folding Beijing'' achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
We can see that in the translation of this passage, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the translator have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
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“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
&lt;br /&gt;
In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using a subordinate clause like &amp;quot;...childhood that...&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
&lt;br /&gt;
=====2.1.3 Discourse level=====&lt;br /&gt;
&lt;br /&gt;
Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in terms of discourse level. A dialogue from ''Folding Beijing'' and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Din Juan,2011:27）&lt;br /&gt;
&lt;br /&gt;
“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
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老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
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“可是这等于我也得撒谎。”&lt;br /&gt;
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依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
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&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
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Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translating. The form of the dialogue is not exactly translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.&lt;br /&gt;
&lt;br /&gt;
====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
&lt;br /&gt;
Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
=====2.2.1 Rhetoric=====&lt;br /&gt;
&lt;br /&gt;
Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle and he just use the word &amp;quot;monster&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Dialects=====&lt;br /&gt;
&lt;br /&gt;
The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem.（Din Juan,2011:33）&lt;br /&gt;
&lt;br /&gt;
For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
&lt;br /&gt;
In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.&lt;br /&gt;
&lt;br /&gt;
====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
&lt;br /&gt;
Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of ''Folding Beijing'' from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)&lt;br /&gt;
&lt;br /&gt;
=====2.3.1 Food Culture=====&lt;br /&gt;
&lt;br /&gt;
The city described in ''Folding Beijing'' is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator captures this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）&lt;br /&gt;
&lt;br /&gt;
=====2.3.2 Folk Culture=====&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is one of the major characteristics of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word to make it easy for readers to understand.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.&lt;br /&gt;
&lt;br /&gt;
=====2.3.3 Culture of Idioms=====&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
&lt;br /&gt;
The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;ate heartily&amp;quot;. Although the translation is easy to understand, but without the image that people are very hungry to eat, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot; is translated as &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; is translated as &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he kept the secret and that Yi Yan and Qin Tian might be together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of ''Folding Beijing'' from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of ''Folding Beijing'' to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
&lt;br /&gt;
Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni  202070080620 MTI英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni MTI 英语笔译 No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
&lt;br /&gt;
American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
&lt;br /&gt;
The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
&lt;br /&gt;
In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
&lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
&lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
 &lt;br /&gt;
Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
&lt;br /&gt;
Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
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=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
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He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
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===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
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“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
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=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
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Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
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It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
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In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
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Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
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In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
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Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
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In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
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=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
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======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
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 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
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In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
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 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
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Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
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An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
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======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
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After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
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 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
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Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
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======Antithesis======&lt;br /&gt;
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 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
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As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
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 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
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====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
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The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
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The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
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For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
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One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
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Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
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Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
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Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
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Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:51, 21 December 2020 (UTC)&lt;br /&gt;
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=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation, 韩宛真 Han Wanzhen, 英语语言文学==	&lt;br /&gt;
&amp;lt;center&amp;gt;Han Wanzhen 韩宛真, 202020080603.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this chapter summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
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===Key words===&lt;br /&gt;
interpretive theory; interpretation; translation strategies&lt;br /&gt;
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===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
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===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and  knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
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===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
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The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
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The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicit), which means that the speaker actually wants to express the meaning: the second is the explicit, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
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Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
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Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
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The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understanding:the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
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The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
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The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
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In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
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===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
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There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
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Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
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===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
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The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
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Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this chapter, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:27, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures ==&lt;br /&gt;
    陈佳欣	Chen Jiaxin 202020080593 英语语言文学&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time, until they entered China along trade routes from Central Asia in the first century AD.&lt;br /&gt;
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Buddhism is widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the similarity in form and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation(Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three periods. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposes that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposes to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang holds that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He translated 35 Buddhist Scriptures in total, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “Transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, was a Buddhist scripture translator during the Three Kingdoms period. He was the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignoring the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The dominant translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures.&lt;br /&gt;
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On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore they can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
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====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he was also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He was one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translated 39 volumes. He was proficient in both Chinese and Sanskrit languages, and advocated that as long as the translation does not violate the original meaning, there is no need to follow the original form. &lt;br /&gt;
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“Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of Indian Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25).&lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness.&lt;br /&gt;
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Another remarkable achievement is his contribution to the translation workshop. After he arrived at Chang'an, he began to organize translation workshops.With his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads) were usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China, translators could take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there were more Sanskrit texts, they had more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, and metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age was Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses. The number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators were mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also had a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who were proficient in Sanskrit has gradually increased, and the translation work did not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty was more all-sided in organization. “According to records, the translation workshop of the Tang Dynasty had as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them were rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts were more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believed that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
&lt;br /&gt;
=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese was mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
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The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
&lt;br /&gt;
Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
&lt;br /&gt;
Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
&lt;br /&gt;
Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
&lt;br /&gt;
Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
&lt;br /&gt;
Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
&lt;br /&gt;
Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
&lt;br /&gt;
WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
&lt;br /&gt;
Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
&lt;br /&gt;
Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
&lt;br /&gt;
He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
&lt;br /&gt;
Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
&lt;br /&gt;
Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
&lt;br /&gt;
Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:11, 21 December 2020 (UTC)&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi ==&lt;br /&gt;
&amp;lt;center&amp;gt;成于思	Cheng Yusi No.202020080598 比较文学与跨文化研究&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the chapter is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the chapter will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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André Lefevere; ''Translation History and Culture: A Sourcebook''; Liu Miqing; ''A Comparative Study of Chinese and Western Translation Principles''; “cultural turn”; John Dryden; translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This chapter presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, the chapter intends to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This chapter will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, paraphrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. Dryden's comparison of a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
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===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements, which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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I enjoy reading this book because it brings those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;an author and a translator&amp;quot; to &amp;quot;a master and a slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracts two statements by Dryden and relatively places them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracts an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposes three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposes a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argues that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compares a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars, like Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) &lt;br /&gt;
&lt;br /&gt;
A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works were with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
&lt;br /&gt;
Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
&lt;br /&gt;
About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
&lt;br /&gt;
===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
&lt;br /&gt;
In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
&lt;br /&gt;
Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
&lt;br /&gt;
The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
&lt;br /&gt;
He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
&lt;br /&gt;
The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
&lt;br /&gt;
Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
&lt;br /&gt;
Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
&lt;br /&gt;
The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
&lt;br /&gt;
However, he also recognizes that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School and New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
&lt;br /&gt;
Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot;, and he gives his reasons: first, the lack of compass of theories which can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current superficial, assertive and rational views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
&lt;br /&gt;
The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
&lt;br /&gt;
Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
&lt;br /&gt;
Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulated that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
&lt;br /&gt;
Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
&lt;br /&gt;
In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation principles that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the feature of the tradition of Chinese translation changes from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
&lt;br /&gt;
As such, the flourishing of translation is bound to be our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
&lt;br /&gt;
The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
&lt;br /&gt;
The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
&lt;br /&gt;
The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
&lt;br /&gt;
Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
&lt;br /&gt;
Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
&lt;br /&gt;
Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argues that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provides a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
&lt;br /&gt;
===4. Comparison between the books of ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
&lt;br /&gt;
===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
&lt;br /&gt;
===4.2 From the aspect of the arrangement===&lt;br /&gt;
&lt;br /&gt;
Both of these two books are arranged in theme rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters, which are concerned with the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. As to the longer essays, they are collected in the last chapter. &lt;br /&gt;
&lt;br /&gt;
Liu arranges his book differently. Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includs the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which helps readers understanding translation principles.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In conclusion, the paper intends to help readers to have better understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of a translator to a slave. Then, it figures out the reasons of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 12:08, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
&lt;br /&gt;
André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
&lt;br /&gt;
Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
&lt;br /&gt;
Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
&lt;br /&gt;
Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
&lt;br /&gt;
Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
&lt;br /&gt;
Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
&lt;br /&gt;
Ancient Translation Period&lt;br /&gt;
&lt;br /&gt;
The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）&lt;br /&gt;
Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
&lt;br /&gt;
A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
&lt;br /&gt;
Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
&lt;br /&gt;
(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
&lt;br /&gt;
Translation Theory in the Republic of China&lt;br /&gt;
&lt;br /&gt;
Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
&lt;br /&gt;
The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
&lt;br /&gt;
Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
&lt;br /&gt;
Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
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Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
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===Analysis of Theoretical Research Status===&lt;br /&gt;
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Descriptive Analysis of Translation Theory Research&lt;br /&gt;
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First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
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The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
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First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
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Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
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===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
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Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645 MTI 英语口译==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.（Venuti，1995）&lt;br /&gt;
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Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku,2011）&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku,2011）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words.（Zhang le 2017，37）&lt;br /&gt;
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[Take Chinese and English for example ,the word “落汤鸡”can not be translated as “soup chicken”,in literal, as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain, but in England ,a country with developed industry, people are no longer farming ,so it may be hard for them to understand as they have not seen it before, instead ,the familiar thing they can image is the drowned mouse ,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily, after the rain ,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
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To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
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Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just in the  south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou 苏州(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan 银川(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
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For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
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For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 11&lt;br /&gt;
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我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
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&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
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If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
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===''' Conclusion '''===&lt;br /&gt;
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Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* wenku.(2011).翻译中的归化异化.&amp;quot;Domestication and Foreignization in Translation&amp;quot; .https://wenku.baidu.com/view/a63459ee81c758f5f61f67e0.html.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:28, 20 December 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
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==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recording two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) &lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. &lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） &lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei etc. (Yi Jing,2009)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
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'''3.2.2 The awareness of an independent discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )&lt;br /&gt;
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Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) &lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
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Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
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Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 &lt;br /&gt;
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The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
4.4.2 Discipline structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)&lt;br /&gt;
&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.&lt;br /&gt;
&lt;br /&gt;
Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''&lt;br /&gt;
&lt;br /&gt;
Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.&lt;br /&gt;
&lt;br /&gt;
Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.&lt;br /&gt;
&lt;br /&gt;
Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp;amp; Arts] 35-41.&lt;br /&gt;
&lt;br /&gt;
Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].&lt;br /&gt;
&lt;br /&gt;
Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.&lt;br /&gt;
&lt;br /&gt;
Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.&lt;br /&gt;
&lt;br /&gt;
Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.&lt;br /&gt;
&lt;br /&gt;
O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
&lt;br /&gt;
Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
&lt;br /&gt;
Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
&lt;br /&gt;
Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
&lt;br /&gt;
Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
&lt;br /&gt;
Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658,外国语言学及应用语言学 Foreign Linguistics and Applied Linguistics==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;许晶Xu Jing  202020080658&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Translation Studies, translation education, translation talents&lt;br /&gt;
&lt;br /&gt;
==='''题目'''===&lt;br /&gt;
&lt;br /&gt;
对中国翻译学学习的反思&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''=== &lt;br /&gt;
&lt;br /&gt;
翻译学，翻译教育，翻译人才&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''1. Introduction'''===&lt;br /&gt;
&lt;br /&gt;
1.1. The Connotation of Translation Studies&lt;br /&gt;
&lt;br /&gt;
Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
&lt;br /&gt;
Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
&lt;br /&gt;
Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
&lt;br /&gt;
Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
&lt;br /&gt;
1.2. The Significance of Translation Studies&lt;br /&gt;
&lt;br /&gt;
With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
&lt;br /&gt;
As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
&lt;br /&gt;
Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
&lt;br /&gt;
==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
&lt;br /&gt;
Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.&lt;br /&gt;
&lt;br /&gt;
2.1. The Exploration Period of Translation Studies &lt;br /&gt;
&lt;br /&gt;
In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
&lt;br /&gt;
The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.&lt;br /&gt;
&lt;br /&gt;
However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, as well as translation criticism, translation publishing, and translation management, etc.&lt;br /&gt;
&lt;br /&gt;
At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
&lt;br /&gt;
2.2. The Development Period of Translation Studies &lt;br /&gt;
&lt;br /&gt;
At the beginning of this period, translation studies explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
&lt;br /&gt;
At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
&lt;br /&gt;
Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge. Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)&lt;br /&gt;
&lt;br /&gt;
2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
&lt;br /&gt;
In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
&lt;br /&gt;
In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.&lt;br /&gt;
&lt;br /&gt;
There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers should help students to acquire the industry knowledge, technology, skills and accomplishments that required by the language service market. Teachers can invite industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
&lt;br /&gt;
==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
&lt;br /&gt;
The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
&lt;br /&gt;
3.1. Translation Education &lt;br /&gt;
&lt;br /&gt;
With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018）&lt;br /&gt;
&lt;br /&gt;
However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
&lt;br /&gt;
3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
&lt;br /&gt;
At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
&lt;br /&gt;
In addition, due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
&lt;br /&gt;
3.1.2. Faculty Resources&lt;br /&gt;
&lt;br /&gt;
The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
&lt;br /&gt;
The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)&lt;br /&gt;
&lt;br /&gt;
In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
&lt;br /&gt;
3.1.3. Teaching method&lt;br /&gt;
&lt;br /&gt;
Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
&lt;br /&gt;
This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
&lt;br /&gt;
3.1.4 Translation Teaching Research&lt;br /&gt;
&lt;br /&gt;
The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019）&lt;br /&gt;
&lt;br /&gt;
Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
&lt;br /&gt;
3.2. Students&lt;br /&gt;
&lt;br /&gt;
The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
&lt;br /&gt;
3.2.1. Low level of commitment to translation learning&lt;br /&gt;
&lt;br /&gt;
Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
&lt;br /&gt;
Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
&lt;br /&gt;
As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
&lt;br /&gt;
3.2.2. Insufficient background knowledge &lt;br /&gt;
&lt;br /&gt;
Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information.&lt;br /&gt;
&lt;br /&gt;
With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
&lt;br /&gt;
3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
&lt;br /&gt;
At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
&lt;br /&gt;
==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
&lt;br /&gt;
In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.&lt;br /&gt;
&lt;br /&gt;
4.1. Translation Education&lt;br /&gt;
&lt;br /&gt;
Translation education plays an important role in cultivating translation talents, and a good translation education system will provide a good environment for students to learn Translation Studies, so it is necessary to improve translation education system.&lt;br /&gt;
&lt;br /&gt;
4.1.1. Improve Teaching Mode&lt;br /&gt;
&lt;br /&gt;
The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)&lt;br /&gt;
&lt;br /&gt;
Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
&lt;br /&gt;
The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019)&lt;br /&gt;
&lt;br /&gt;
4.1.2. Strengthen Faculty Force&lt;br /&gt;
&lt;br /&gt;
Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
&lt;br /&gt;
Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019）&lt;br /&gt;
&lt;br /&gt;
Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
&lt;br /&gt;
4.1.3. Broaden the academic vision of translation&lt;br /&gt;
&lt;br /&gt;
Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
&lt;br /&gt;
The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
&lt;br /&gt;
4.2. Students &lt;br /&gt;
&lt;br /&gt;
Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
&lt;br /&gt;
4.2.1. Expanding knowledge&lt;br /&gt;
&lt;br /&gt;
Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
&lt;br /&gt;
A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
&lt;br /&gt;
Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
&lt;br /&gt;
Students must spend enough time in practicing. They can take part in many social activities to experience different aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
&lt;br /&gt;
From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
&lt;br /&gt;
President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
&lt;br /&gt;
Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 15:23, 20 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.&lt;br /&gt;
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Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].&lt;br /&gt;
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Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.&lt;br /&gt;
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Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.&lt;br /&gt;
&lt;br /&gt;
Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. &lt;br /&gt;
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Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16&lt;br /&gt;
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Linlin.林琳.(2016).英语文学翻译学习现状及改善措施.[ The Status Quo and Improvement Measures of English Literature Translation Learning].西部素质教育[''Western China Quality Education''] 65.&lt;br /&gt;
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Luo Feng.罗峰.(2011).从翻译学学科建设看翻译学在中国的发展.[On the Development of Translation Studies As A Discipline in China].琼州学院学报[''Journal of Qiongzhou University]''115-116.&lt;br /&gt;
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Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.&lt;br /&gt;
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Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.&lt;br /&gt;
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Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].&lt;br /&gt;
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Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. &lt;br /&gt;
&lt;br /&gt;
Xu Jun, Mu Lei. 许钧, 穆雷.(2009).中国翻译学研究30年 (1978 -2007).[30 years of Chinese Translation Studies (1978 -2007)].外国语[''Journal of Foreign Languages'']77-87.&lt;br /&gt;
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Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.&lt;br /&gt;
&lt;br /&gt;
Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
&lt;br /&gt;
There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
&lt;br /&gt;
=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
&lt;br /&gt;
Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
&lt;br /&gt;
====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on domestication strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
&lt;br /&gt;
====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;The highest art can only be understood by a few&amp;quot;, &amp;quot;Art has its own many grades, so the appreciation of art also has many grades. &amp;quot;. (Liang Shiqiu: R.O.C. 23) &lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
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====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously&lt;br /&gt;
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In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
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Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
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When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Irving Babbitt, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
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====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.&lt;br /&gt;
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For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
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EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
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伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
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This man hath my consent to marry her．&lt;br /&gt;
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是我答应把我女儿嫁给他的&lt;br /&gt;
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Stand forth，Lysander．&lt;br /&gt;
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走上前来，拉山德。&lt;br /&gt;
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And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
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殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
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In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
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拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
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否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
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Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
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First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
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LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
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Translation of Liang Shiqiu:&lt;br /&gt;
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赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
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否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
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HELENA She was a vixen when she went toschool: &lt;br /&gt;
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And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
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海 上学时她就是个狐狸精。&lt;br /&gt;
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她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
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Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
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Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
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For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
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Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
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Liang’s version :&lt;br /&gt;
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河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
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For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
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By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
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===References===&lt;br /&gt;
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Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
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Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
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Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
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Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
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Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
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Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
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Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
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Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
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Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
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Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
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Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
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Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
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Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
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Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
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===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
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===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
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Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Toury and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
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In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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According to Toury, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
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Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
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According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
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=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
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The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
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Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
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Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
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Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
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Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
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Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
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Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
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Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
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Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
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Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
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Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
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==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，使读者深刻理解描写性翻译研究的地位。&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====2.2 Firth====&lt;br /&gt;
&lt;br /&gt;
Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
&lt;br /&gt;
====2.3 James Holmes====&lt;br /&gt;
&lt;br /&gt;
With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
&lt;br /&gt;
He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
&lt;br /&gt;
For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
&lt;br /&gt;
Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
&lt;br /&gt;
Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
&lt;br /&gt;
However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
&lt;br /&gt;
====2.4 Polysystem Theory====&lt;br /&gt;
&lt;br /&gt;
In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem(多元体系派) is not satisfied with the achievements made by the translation studies(翻译研究派). It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
&lt;br /&gt;
According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
&lt;br /&gt;
Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
&lt;br /&gt;
====2.5 Gideon Toury&lt;br /&gt;
    &lt;br /&gt;
Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
&lt;br /&gt;
This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
&lt;br /&gt;
Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
&lt;br /&gt;
In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
&lt;br /&gt;
Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
&lt;br /&gt;
He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
&lt;br /&gt;
====2.6 Snell-Hornby&lt;br /&gt;
&lt;br /&gt;
In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
&lt;br /&gt;
Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
&lt;br /&gt;
====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
    &lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
&lt;br /&gt;
Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
&lt;br /&gt;
(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
&lt;br /&gt;
(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
&lt;br /&gt;
The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory is undoubtedly meaningful and instructive, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
&lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
&lt;br /&gt;
====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
&lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
&lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Reference===&lt;br /&gt;
&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
&lt;br /&gt;
J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby. (1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满, Liu Fang 刘芳. (2005). 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究：从规范走向描写[Translation Studies: From the Prescriptive to the Descriptive Approach]. 中国翻译[Chinese Translation  Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. (2008). 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰. (2002). 多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
&lt;br /&gt;
==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
 &lt;br /&gt;
Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
===Abstract ===   &lt;br /&gt;
&lt;br /&gt;
Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
&lt;br /&gt;
Key words: translation strategies and translational problems.&lt;br /&gt;
&lt;br /&gt;
This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
&lt;br /&gt;
===Content===&lt;br /&gt;
&lt;br /&gt;
Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
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The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
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Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
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As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
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However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
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Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
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However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
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===References===&lt;br /&gt;
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Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;br /&gt;
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== The Comparison of Machine Translation and Human Translation from the Perspective of Skopos Theory---A Case Study of E-C Translation of ''A Tale of Two Cities'' as an example - 欧阳静兰 OuYang Jinglan 202020080630==&lt;br /&gt;
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&amp;lt;center&amp;gt;欧阳静兰 OuYang Jinglan &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid development of globalization and the Internet, international communication is expanding, and a lot of information needs to be translated. Due to the low efficiency of human translation, machine translation is indispensable today. However, due to the limitations of machine translation, the quality of machine translation is still worrying. Therefore, from the perspective of Skopos theory, this paper takes the E-C translation of ''A Tale of Two Cities'' as an example to analyze the machine translation of Google translation and Baidu translation, and compare it with the translation of Song Zhaolin, so as to explore the characteristics of machine translation and human translation, try to discuss the irreplaceable nature of human translation, and discuss how to combine machine translation with human translation to improve the quality and efficiency of translation. This paper is divided into five parts: the first part introduces the background of the current translation environment; the second part introduces Skopos Theory and discusses the feasibility of Skopos Theory in analyzing machine translation and human translation; the third part introduces the advantages and disadvantages of machine translation and human translation, and discusses the relationship between them; the fourth part is a case study to see machine translation from the perspective of Skopos theory Compared with manual translation, it is concluded that machine translation and manual translation must be combined to improve the efficiency and quality of translation. The fifth part is a summary of this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Skopos Theory, machine translation, human translation&lt;br /&gt;
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===题目===&lt;br /&gt;
目的论视角下机器翻译和人工翻译的对比---以《双城记》的英汉翻译为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着全球化和互联网的迅速发展，国际的交流日益扩大，大量信息需要翻译。由于人工翻译效率低下，在越来越强调效率和质量的今天，机器翻译必不可少。然而，由于机器翻译的局限性，机器翻译的质量仍然堪忧。因此,本文以目的论视角, 以《双城记》的英汉翻译为例，分析谷歌翻译和百度翻译的机器译文, 与宋兆霖版本的中文译本对比，由此探析机器翻译与人工翻译的特点,尝试论述人工翻译的不可替代性, 并讨论如何将机器翻译与人工翻译结合提高翻译的质量和效率。本文分为五个部分，第一部分对当前翻译环境背景的介绍；第二部分对目的论进行简介，并讨论目的论用于分析机器翻译和人工翻译的可行性；第三部分介绍机器翻译和人工翻译的优缺点，并讨论他们之间的关系；第四部分进行案例分析，从目的论视角下看机器翻译与人工翻译的对比，得出提高翻译效率与质量必须将机器翻译与人工翻译相结合。第五部分对全文进行总结。&lt;br /&gt;
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===关键词===&lt;br /&gt;
目的论 机器翻译 人工翻译 &lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
With the development of globalization, the growth of Internet and artificial intelligence, machine translation becomes an indispensable choice in today’s society. Compared with human translation, machine translation has the advantages of efficiency. As the traditional translation method, human translation can guarantee the accuracy of the text. In this information era, many people are thinking whether human translation will be replaced by machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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In September 2016, Google released the neural network translation system, which greatly improved the quality of machine translation. In November, Baidu CEO Robin Li stated at the Wuzhen Summit of the 3rd World Internet Conference that Baidu's artificial intelligence product &amp;quot;automatic translation&amp;quot; will enter a practical state. Therefore, this paper will put the original text of Tale of Two Cities in two representative public machine translation engines at home and abroad, &amp;quot;Google&amp;quot; and &amp;quot;Baidu&amp;quot;, to obtain the machine translation. Selecting texts from the famous classical novel ''A Tale of Two Cities'', and comparing machine translations and human translations based on this novel from the perspective of Skopos theory, this paper aims to investigate the relationship between human translation and machine translation and their developments in the future.  (Hu Kaibao 2016, 10)&lt;br /&gt;
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=== 2. Overview of Skopos Theory ===&lt;br /&gt;
In the 1970s, some eminent German translation theory scholars first proposed functional translation theory. Translation theorist Katharina Reiss divides text into three types: informative, expressive and operational. She suggested that according to different text types, different translation methods should be used for analysis, and different translation criticism standards should be adopted, that is, text types, language functions and translation strategies should be combined. In the translation process, it’s essential to focus on the functional characteristics of the target text. Her text type theory and translation criticism mode can be regarded as the beginning of functionalist Skopos theory. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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Hans Vermeer is Reiss's student. He further developed Reiss's theory and proposed Skopos theory. He believed that Skopos theory is based on the source text, and then may produce a series of purposeful and effective behaviors. The core of this theory is that &amp;quot;the purpose of translation determines translation strategies and method to achieve the expected purpose of translation&amp;quot; (Reiss &amp;amp; Vermeer 1984), and German scholars Justa Holz Manttari and Christian Nord further developed this theory which based on the theory of communication and behavior, and they  proposed that translation theory is not a simple translation between words and sentences, but a kind of conscious behavior for the purpose of cultural communication. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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====2.1 Three Rules of Skopos Theory====&lt;br /&gt;
The word “Skopos” is originated from the Greek language and means &amp;quot;purpose&amp;quot;. Skopos theory refers to the process of translation is determined by the purpose of the translation, so the purpose rule is the highest one of translation. Generally speaking, skopos theory includes three principles: Skopos rule, coherence rule (intra-textual coherence) and fidelity rule (also known as &amp;quot;inter-textual coherence&amp;quot;). (Nord 2001, 20)&lt;br /&gt;
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Skopos theory believes that the important principle to be followed is the &amp;quot;purpose&amp;quot; rule, it is the core rule of Skopos Theory: the process of translation should be based on the realization of the communicative function in the target language culture, and the goal to be achieved determines the entire process of translation, that is, the method determines the result. Vermeer differentiated the purpose of translation. He believes that the purpose of translation should include three levels: the purpose of the translator; the purpose of communication; the purpose of specific translation strategies. In most cases, a translator has a certain purpose before translation, such as being entrusted by a translation company, market demand or the need to introduce a technology. In most cases, &amp;quot;purpose&amp;quot; refers to the communicative purpose of translation. Under the guidance of the purpose of communication, the translator can have more space to interpret and adjust the original text. (Nord 2001, 78)&lt;br /&gt;
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To achieve the communicative and interative function between the target text and the target receptor, the target text needs to conform to the linguistic coherence, and be understood and accepted by the readers in the context of the target language and culture. The principle of coherence means that the target text must conform to the intra-textual coherence, that is, the translation must be understood by the target reader and be meaningful in the culture of the target language and the communication environment in which the translation is used. “The principle of coherence requires that the information generated by the translator (target text) must be interpreted in a manner consistent with the context of the target reader.” (Shuttleworth 2004: 75) This means the translator should maximize the translation Semantic coherence and makes the translation understandable and acceptable to the target readers. The target text can help target readers understand and successfully exchange information.&lt;br /&gt;
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The fidelity rule refers to the inter-textual coherence between the original text and the target text, which requires &amp;quot;consistency between the target text and the original text&amp;quot; (Munday, 2010: 79). Therefore, in the translation process, the translator should not only be faithful to the original text, but also transfer the writing style and cultural factors existed in the source text. This principle requires translator to follow the purpose of translation.&lt;br /&gt;
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In the process of translation, translators should follow three principles according to Skopos Theory: the Skopos rule, the coherence rule and the fidelity rule. Among these three rules in Skopos Theory, the skopos rule is the primary principle translators should adopt in the process of translation, and the coherence rule and the fidelity rule must follow the skopos rule. So in the case of translation practice, fidelity rule is subordinate to coherence rule, and both are subordinate to the Skopos rule. In a word, Skopos rule plays a decisive role in translation process, and it should be considered first in translation. (Fang Mengzhi 2011, 20)&lt;br /&gt;
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====2.3 Application of Skopos Theory====&lt;br /&gt;
Skopos Theory is different from traditional theories which overemphasize the features of language rules. With regard to Skopos Theory, it requires that translators should not only consider the language but also take account of factors beyond texts and language like the purpose of translation. As for ''A Tale of Two Cities'', the purpose is to make the target reader feel the same as the source target reader.  Since this is a literary text, the cultural factors and rhetorical methods used in the source texts should be reflected in the target text. In addition, the feeling of the target text reader should be taken into consideration in the process of translation. Therefore, the translation should conform to habits of the target language. But guided by Skopos Theory, the advantages and disadvantages of machine translation can be easily analyzed, so that a better solution can be founded between human translation and machine translation.&lt;br /&gt;
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===3. Machine Translation and Human Translation===&lt;br /&gt;
Translation activities have a long history. As far as China is concerned, translation has a history of more than two thousand years. However, the translation tools have rarely changed, and the translations are always been done by &amp;quot;translators&amp;quot;. With the development of science and technology and the acceleration of globalization, there is an increasing need for translation. Therefore， &amp;quot;machine&amp;quot; translation has emerged. High efficiency and low cost of machine translation make people think about whether machine translation will replace human translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.1 Advantages and disadvantages of human translation====&lt;br /&gt;
Human translation has both advantages and disadvantages. For example, human translation has the characteristics of flexibility, accuracy, high readability and humanization of language. At the same time, however, compared with machine translation, human translation is less efficient and easy to be influenced by translator's own cultural background and translation capacity so it is difficult to achieve rapid development. Before the advent of machine translation, all translation activities were done by human. Compared with machine, translators, as a bridge of cross-cultural communication, are more flexible. Translation itself is a complex activity. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Professional translators who have certain cultural background knowledge can choose different translation methods and strategies according to the similarities and differences between the two languages and cultures, so it is more flexible and accurate. The flexibility of human language enables the translator to express the meaning of the original text in a more abundant language, and accurately handle the rhetorical devices in the original text. Therefore, the target text of human translation must be more readable than that of machine translation. Human translation has a long history, and people's research on translation has never stopped. Many excellent translators have emerged in the world and put forward various translation ideas and strategies. Translation has established a relatively mature and complete theory. With the rapid development of China's economy and the increasing number of foreign exchanges, the demand for translation is on the rise. At the same time, the time spent on translation needs to be shortened. Therefore, manual translation alone cannot meet the needs of the translation market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.2 Advantages and disadvantages of machine translation====&lt;br /&gt;
Machine translation refers to thefact that a language can be transferred into another language automatically with the help of machine. The idea of machine translation was firstly put forward by Weaver in his book Translation in 1949. Since the end of the 20th century, the development of the Internet and computer technology has provided more optional software and engines for machine translation. At the same time, the corpus has become richer and more complete, greatly improving the efficiency and quality of machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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The current machine translation is based on the &amp;quot;Neural Machine Translation&amp;quot; (NMT) model of artificial intelligence. Currently, the popular web page machine translations include Youdao Translation, Baidu Translation, Google Translation and so on. Google is currently in a leading position in both voice translation and text translation. Google Translation is a service provided by Google to translate texts and web pages, providing instant translation between more than 100 languages. It can provide translations of words, sentences and web pages between any two languages it supports. The more human translation documents that can be analyzed for a particular language are, the higher the quality of the translation is. In addition, Google's web page translation is fast, especially free to use, so it has a considerable number of users in translation activities, especially students. Therefore, this paper will take Google Translation and Baidu Translation as an example to analyze the translation quality, which is representative in the market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Generally speaking, machine translation has the characteristics of high efficiency, low cost, accuracy of terminology translation, and great development potential. Machine translation is fast and efficient, for which human translation cannot match. Secondly, the price of machine translation is low, even free, which greatly reduces the economic cost and time cost for those who do not require high translation quality. In addition, compared to human translation, the huge corpus established by machine translation makes the translation of some terms, especially the latest scientific and technological terms, faster and more accurate. The accurate translation of these terms requires continuous learning by the translator, and learning requires a process, which has a certain test of the translator's learning ability and learning speed. At this point, human translation has uncertainty and lag. Finally, although the history of machine translation is short, it has achieved rapid development. With the advancement of science and technology and the development of society, the functions of machine translation will be more perfect and the quality of translation will be better. (Jin Wenlu 2019, 40)&lt;br /&gt;
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First of all, from a microscopic point of view, machine translation often has problems in the choice of word meaning, especially when there is one word with different meanings. It needs the translator to select the meaning based on the context, while machine translation cannot accurately choose the meaning of a word in combination with the context. What’s more, the word order of the translated sentence often does not conform to the word order and expression habits of the target language. From the aspect of tense, it is more accurate when translating English into Chinese, because words in English can directly change tense. However, there are sometimes problems such as no corresponding tenses when translating Chinese into English. From a macro point of view, machine translation does not have cultural sensitivity and is not accurate enough for the translation of some idioms and proverbs with strong cultural color. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.3 Relationship between machine translation and human translation====&lt;br /&gt;
Machine translation is based on human translation, and the establishment of corpus that machine translation relies on needs human participation. When translating technical terms, machine translation corpus and parallel text can greatly reduce the time when find and determine proper equivalent terms. However, the establishment of these corpora needs well-translated materials. The accuracy and usability of corpus are also affected by the quality of human translation. Therefore, they restrict and influence each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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There are more or less defects in the micro and macro aspects of machine translation. At the micro level, it mainly includes vocabulary, syntax, tense, and so on. However, at the macro level, it mainly includes text cohesion and cultural background. Therefore, human translation is essential. In addition, all machine translation inspection, modification, sorting and other work must also be carried out manually, so as to make the translation quality better and meet the requirements of communication. It can be seen that machine translation alone cannot meet the requirements of high quality translation. Translation activities cannot be separated from human participation. Therefore, with the development of machine translation, translation should be completed by both machine and human. The two are related, influenced with each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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===4. Case Study from the Perspective of Skopos Theory===&lt;br /&gt;
A Tale of Two Cities is a long historical novel by British writer Charles Dickens, first published in 1859. The story is set in the French Revolution and has a touching plot. It is one of the world's literary classics. The twin cities refer to Paris and London. The story connects these two cities and tells the story of the Parisian doctor Manette. He was persecuted by the brothers of the Marquis St. Evremonde due to injustice and was detained in the Bastille prison for 18 years. After being released from prison, Mannette's daughter Lucie fell in love with the enemy's son Darney. Thus, in the whirlpool of the French Revolution, scenes of family grievances and hatred were staged grandly. Life and death, good and evil were blended in conflict and changed in an instant. On the guillotine, Carton calmly sacrificed his life for love. （Dickens 2016）&lt;br /&gt;
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A Tale of Two Cities has a rigorous structure and condensed language. Dickens's profound thinking on revolution and humanity and his breathtaking writing talent are fully demonstrated. This paper selects the most representative classic sentences in the text for comparative analysis of translation, studies whether neural network machine translation software can accurately translate classic literary works, and explores whether neural network machine translation will replace manual translation in the context of artificial intelligence. The human translation was by Zhaolin Song. Among the many translation versions in China, Song’s translation was regarded as the version which closes to the source text most. (Feng Baoyin 2018, 232)&lt;br /&gt;
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====4.1 Case Study from the perspective of Skopos Rule====&lt;br /&gt;
In Vermeer’ opinion, the dominant rule for any translation should be the skopos rule, which means that a translation action is determined by its purposes. That is to say, the translation action should be in accordance with the target context and culture. The purposes of target text determine the translation strategies and methods used in translation process. A good translation should conform to the target culture and meet target audiences’ expectations. According to Nord, “Skopos of a particular translation task may require a ‘free’ or a ‘faithful’ translation, or anything between these two extremes, depending on the purpose for which the translation is needed”. Once the intended purposes are achieved, the translation will be considered as reasonable and proper. It is unnecessary for the translation to be equivalent to the source text. (Nord 1997, 102)&lt;br /&gt;
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Example 1: We were all going direct to heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. （Dickens 2016, 15）&lt;br /&gt;
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Google translation: 我们都直接去天堂，我们都直接去天堂- -简而言之，这一时期与目前的时期如此遥远，以至于它的一些最吵闹的当局坚持以最高的比较程度来接受它是好是坏。&lt;br /&gt;
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Baidu translation: 我们是所有的人都直接去天堂，我们都朝着另一个方向去——简而言之，这个时期和现在的时代非常相似，以至于一些最吵闹的权威坚持要接受它，不管是好是坏，只是在最高级的比较中。&lt;br /&gt;
&lt;br /&gt;
Human translation（Zhaolin Song）: 我们大家都在直升天堂，我们大家都在直下地狱——简而言之，那个时代和当今这个时代是如此相似，因而一些吵嚷不休的权威们也坚持认为，不管它是好是坏，都只能用“ 最……”来评价它。(Song Zhaolin 2005, 20)&lt;br /&gt;
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Analysis: &lt;br /&gt;
Since this is selected from a novel, the purpose of translation should be express the meaning and beauty of the source text. As for the Google translation, there was a mistake in translating &amp;quot;We were all going directly the other way&amp;quot;. The translated meaning is totally different from the original.  As to Baidu translation, it expressed the meaning of the original text, but the way it expressed the original meaning may confuse the target text reader. In regards to human translation, the translator of this edition adopts the combination of literal translation and free translation. In this way, the translation not only clearly expresses the original meaning, but also takes into account the literariness of the work, so that readers can feel the characteristics of the times more vividly&lt;br /&gt;
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====4.2 Case study from the perspective of coherence rule====&lt;br /&gt;
Coherence rule is also called “intra-textual coherence”, which means that the translation should be acceptable and understandable for the target audiences and be meaningful in the communicative situation and culture in which it is received. In other words, the target text should conform to the target receivers’ situation, including their given knowledge, background culture and specific circumstances. (Nord 1997, 120)&lt;br /&gt;
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&lt;br /&gt;
Example 2: Questions, questions, questions! (Charles Dickens 2016, 56)&lt;br /&gt;
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Google Translation: 问题，问题，问题！&lt;br /&gt;
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Baidu Translation: 问题，问题，问题！&lt;br /&gt;
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Human translation（Zhaolin Song）: 问题一个接一个地提出来！(Song Zhaolin 2005, 68)&lt;br /&gt;
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Analysis: In this sentence, the original text uses three &amp;quot;questions&amp;quot; in a row to enhance the tone. However, Google and Baidu Translation directly translated it into &amp;quot;问题，问题，问题！&amp;quot;, which sounds too blunt to read. The target text translated by Google and Baidu cannot reflect the meaning of the original text. What's more, it makes it hard for target readers to get the meaning of the text. While the translator chose the free translation method to make the translation more natural and smooth. The translated text followed the coherence rule in the process of translation.&lt;br /&gt;
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Example 3: But just because he had a powerful enemy---an enemy with the power to send him to prison and to keep him there, hidden and forgotten, for eighteen years. (Charles Dickens 2016, 102)&lt;br /&gt;
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Google translation: 但是仅仅因为他有一个强大的敌人-一个有能力将他送进监狱并将其隐藏和遗忘在监狱里长达十八年的敌人。&lt;br /&gt;
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Baidu translation:只是因为他有一个强大的敌人，一个有能力把他送进监狱，把他关在那里，隐藏起来，被遗忘18年。&lt;br /&gt;
&lt;br /&gt;
Human translation(Song Zhaolin): 而只是因为他有一个强大的敌人-这个敌人拥有权势将他投进监狱，而且把他在那里与世隔绝、被人遗忘地关了18年。(Song Zhaolin 2005, 130)&lt;br /&gt;
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Analysis: In terms of grammar, English uses long sentences, which are connected by functional words, such as conjunctions, prepositions and relative words. Its syntactic structure is relatively complex and it is a hypotactic language. Chinese is a paratactic language. In the process of E-C translation, we often use disassembly syntax to translate a long and complex English sentence into several short and simple Chinese short sentences. From Google Translation, it directly translated the structure of the original text. The target text created by Google translation doesn't conform to target language structure. While the translation of Baidu almost in accordance with the target language structure. As to the human translation, not only was the structure, but also the meaning was perfectly expressed.&lt;br /&gt;
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====4.3 Case study from the perspective of fidelity rule====&lt;br /&gt;
Fidelity rule is also named by Vermeer as “intertextual coherence”, which puts emphasis on the relationship between the source text and target text. Based on Skopos theory, fidelity rule requires that the target text should be in accordance with the source text, which means the information contained in the source text should be exactly conveyed by the target text under the translators’ efforts. (Nord 1997, 140)&lt;br /&gt;
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&lt;br /&gt;
Example 1: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us. （Dickens 2016, 15）&lt;br /&gt;
 &lt;br /&gt;
Google Translation: 那是最美好的时光，那是最糟糕的时光，那是智慧的时代，那是愚昧的时代，那是信仰的时代，那是轻信的时代，那是光明的季节， 是黑暗的季节，是希望的春天，是绝望的冬天，我们眼前的一切，眼前的一切。&lt;br /&gt;
 &lt;br /&gt;
Baidu Translation: 那是最好的时代，最坏的时代，智慧的时代，愚昧的时代，信仰的时代，不信的时代，光明的季节，黑暗的季节，希望的春天，绝望的冬天，我们面前什么都有，面前什么都没有。 &lt;br /&gt;
&lt;br /&gt;
Human Translation (Zhaolin Song): : 那是最美好的时代，那是最糟糕的时代；那是个睿智的年月，那是个蒙昧的年月；那是信心百倍的时期，那是疑虑重重的时期；那是阳光普照的季节，那是黑暗笼罩的季节；那是充满希望的春天，那是让人绝望的冬天；我们面前无所不有，我们面前一无所有。（Song Zhaolin 2005, 20）&lt;br /&gt;
 &lt;br /&gt;
Analysis: This is the classic opening paragraph in &amp;quot;A Tale of Two Cities&amp;quot;, and it can be said to be very popular. On the whole, because of the simple structure of this paragraph, the two machine-translated translations all accurately express the content of the original text, but one shortcoming is that it is difficult for machine translation to express the unique beauty of rhythm of the original text.&lt;br /&gt;
&lt;br /&gt;
Through the analysis of the translation of commonly used machine translation software and human translation from the perspective of Skopos Theory, we can conclude that for the translation of literary works, machine translation can accurately express the meaning of the original text, even equal to manual translation if there are only some simple expressions in the source texts. However, the quality of machine translation needs to be improved some sentences with complex sentence patterns and difficult grammatical structures. Therefore, the translation of literary works by machines  still have a long way to go.&lt;br /&gt;
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===5. Conclusion===&lt;br /&gt;
The main purpose of this paper is to find a better solution between machine translation and human translation under the guidance of the Skopos Theory for optimizing weaknesses of machine translation platforms, which not only generates solutions to errors, but also improves the quality of machine translation. &lt;br /&gt;
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Theoretically, this paper applies Skopos Theory to guide human translation and machine translation of literary texts. Machine translation can be regarded as a basis of human translation, while those errors caused by machine translation can be improved manually after the completion of machine translation. Meanwhile, by employing appropriate translation methods and techniques, such as semantic conversion, amplification, omission and so on, human translation based on machine translation enormously solves errors in machine translation which further optimizes weaknesses of machine translation. Human translation process also becomes more efficient with the help of machine&lt;br /&gt;
&lt;br /&gt;
As for machine translation, firstly, machine translation platforms can’t replace translators on account of its incomplete corpus and limitations in transferring the cultural meaning. Secondly, errors at lexical level caused by defects of machine translation are much more than that at syntactical level. Lastly, machine translation platforms are restricted by contexts of language, situation and culture which lead to incorrect target text.&lt;br /&gt;
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In regard with human translation, from the perspective of Skopos theory, human translation is more understandable and readable to target readers than that of machine translation. It’s essential for the translator to know typical errors in machine translation, features of machine translation platforms and characteristics of the source text, which could fascinate the efficiency of translation. All in all, machine translation platforms enhance the efficiency of translating large amount of material and human translation provides a solution for machine translation of poor quality. Machine translation and human translation are complement to each other.&lt;br /&gt;
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===References===&lt;br /&gt;
* Charles Dickens. (2016). A Tale of Two Cities. Macmillian.&lt;br /&gt;
&lt;br /&gt;
* Fang Mengzhi 方梦之. (2011). 中国译学大辞典 [A Dictionary of Translation Studies in China] 上海外语教育出版社(leave a blank space)Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
* Feng Baoyin(leave a blank space)冯宝茵 (2018). 从读者反应论对比两个《双城记》译本 [A comparative study of two versions of a tale of two cities from the perspective of reader response theory]. 北方文学, Northern Literature (36):232.&lt;br /&gt;
&lt;br /&gt;
* Hu Kaibao &amp;amp; Li Yi胡开宝 &amp;amp; 李翼. (2016). 机器翻译特征及其与人工翻译关系的研究. [Research on the characteristics of machine translation and its relationship with human translation] 中国翻译 Chinese Translation (05),10-14. &lt;br /&gt;
&lt;br /&gt;
* Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.&lt;br /&gt;
&lt;br /&gt;
* Mark Shuttleworth (2004). Dictionary of Translation Studies. Foreign Language Teaching and Research Press. 75.&lt;br /&gt;
&lt;br /&gt;
* Munday, J. (2001). Introducing Translation Studies: Theories and Application. London: Routeledge. 78.&lt;br /&gt;
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* Reiss, K &amp;amp; Vermeer, H. J. (1984). Groundwork for a General Theory of Translation. Tubingen: Niemeyer.&lt;br /&gt;
&lt;br /&gt;
* Song Zhaolin(leave a blank space)宋兆霖 (2005). 双城记 A Tale of Two Cities 中国戏剧出版社, China Drama Press.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118884</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=118884"/>
		<updated>2020-12-21T15:36:55Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Introduction */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing 英语笔译 202070080581==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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===key words===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but this does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, have not been covered by linguistic theory. &lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. &lt;br /&gt;
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During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
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===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. &lt;br /&gt;
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The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures.Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language.&lt;br /&gt;
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In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
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Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis.That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. &lt;br /&gt;
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Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which is direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word, which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
&lt;br /&gt;
===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
&lt;br /&gt;
Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example,“Take care. Hope to see you soon.” is  polite and emotional way to express our feelin .&lt;br /&gt;
&lt;br /&gt;
Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translator's mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have to consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore,proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
It is obvious that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese people often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but trasnslators have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
&lt;br /&gt;
In addition, translators need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics and reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. &lt;br /&gt;
&lt;br /&gt;
According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
&lt;br /&gt;
Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:30, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the earliest translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the first, second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
&lt;br /&gt;
This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, style and culture.（Zhou Xingyang,2018:11）&lt;br /&gt;
&lt;br /&gt;
===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,''Toward a Science of Translating''. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.（Zhao Dandan,2011:1）&lt;br /&gt;
&lt;br /&gt;
In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.（Nida,2004:24）&lt;br /&gt;
&lt;br /&gt;
Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book ''Language, Culture and Translation'', Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the response of the reader of the recipient language, and(3) the receptor language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader’s reaction to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
&lt;br /&gt;
Nida and Taber point out that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: words, sentences and passages, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of ''Folding Beijing'' from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
&lt;br /&gt;
=====2.1.1 Lexical level=====&lt;br /&gt;
&lt;br /&gt;
In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of ''Folding Beijing'', there are many examples of how the translation can achieve functional equivalence with the original text at the lexical level, as follows: (Ding Juan, 2011:22)&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention and conveys what appears to be a bad temper.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.&lt;br /&gt;
&lt;br /&gt;
=====2.1.2 Syntactic Level=====&lt;br /&gt;
&lt;br /&gt;
Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese.（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress.（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a appropriate form. The following are examples of how the English translation of ''Folding Beijing'' achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
We can see that in the translation of this passage, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the translator have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
&lt;br /&gt;
“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
&lt;br /&gt;
In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using a subordinate clause like &amp;quot;...childhood that...&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
&lt;br /&gt;
=====2.1.3 Discourse level=====&lt;br /&gt;
&lt;br /&gt;
Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in terms of discourse level. A dialogue from ''Folding Beijing'' and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Din Juan,2011:27）&lt;br /&gt;
&lt;br /&gt;
“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
&lt;br /&gt;
老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
&lt;br /&gt;
“可是这等于我也得撒谎。”&lt;br /&gt;
&lt;br /&gt;
依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
&lt;br /&gt;
Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translating. The form of the dialogue is not exactly translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.&lt;br /&gt;
&lt;br /&gt;
====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
&lt;br /&gt;
Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
=====2.2.1 Rhetoric=====&lt;br /&gt;
&lt;br /&gt;
Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle and he just use the word &amp;quot;monster&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Dialects=====&lt;br /&gt;
&lt;br /&gt;
The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem.（Din Juan,2011:33）&lt;br /&gt;
&lt;br /&gt;
For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
&lt;br /&gt;
In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.&lt;br /&gt;
&lt;br /&gt;
====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
&lt;br /&gt;
Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of ''Folding Beijing'' from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)&lt;br /&gt;
&lt;br /&gt;
=====2.3.1 Food Culture=====&lt;br /&gt;
&lt;br /&gt;
The city described in ''Folding Beijing'' is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator captures this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）&lt;br /&gt;
&lt;br /&gt;
=====2.3.2 Folk Culture=====&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is one of the major characteristics of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word to make it easy for readers to understand.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.&lt;br /&gt;
&lt;br /&gt;
=====2.3.3 Culture of Idioms=====&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
&lt;br /&gt;
The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;ate heartily&amp;quot;. Although the translation is easy to understand, but without the image that people are very hungry to eat, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot; is translated as &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; is translated as &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he kept the secret and that Yi Yan and Qin Tian might be together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of ''Folding Beijing'' from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of ''Folding Beijing'' to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
&lt;br /&gt;
Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
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==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni  202070080620 MTI英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni MTI 英语笔译 No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
&lt;br /&gt;
American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
&lt;br /&gt;
The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
&lt;br /&gt;
In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
&lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
&lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
 &lt;br /&gt;
Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
&lt;br /&gt;
Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
&lt;br /&gt;
Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
&lt;br /&gt;
Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
&lt;br /&gt;
From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
&lt;br /&gt;
Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
&lt;br /&gt;
It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
&lt;br /&gt;
In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
&lt;br /&gt;
In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
&lt;br /&gt;
======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
&lt;br /&gt;
 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
&lt;br /&gt;
In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
&lt;br /&gt;
 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
&lt;br /&gt;
An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
&lt;br /&gt;
======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
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Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:51, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation, 韩宛真 Han Wanzhen, 英语语言文学==	&lt;br /&gt;
&amp;lt;center&amp;gt;Han Wanzhen 韩宛真, 202020080603.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this chapter summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and  knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
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===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
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The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicit), which means that the speaker actually wants to express the meaning: the second is the explicit, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
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Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understanding:the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
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The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
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The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
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===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
&lt;br /&gt;
Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
&lt;br /&gt;
===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this chapter, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:27, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures ==&lt;br /&gt;
    陈佳欣	Chen Jiaxin 202020080593 英语语言文学&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time, until they entered China along trade routes from Central Asia in the first century AD.&lt;br /&gt;
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Buddhism is widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the similarity in form and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation(Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three periods. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposes that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposes to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang holds that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He translated 35 Buddhist Scriptures in total, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “Transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, was a Buddhist scripture translator during the Three Kingdoms period. He was the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignoring the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The dominant translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures.&lt;br /&gt;
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On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore they can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
&lt;br /&gt;
====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he was also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He was one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translated 39 volumes. He was proficient in both Chinese and Sanskrit languages, and advocated that as long as the translation does not violate the original meaning, there is no need to follow the original form. &lt;br /&gt;
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“Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of Indian Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25).&lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness.&lt;br /&gt;
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Another remarkable achievement is his contribution to the translation workshop. After he arrived at Chang'an, he began to organize translation workshops.With his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads) were usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China, translators could take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there were more Sanskrit texts, they had more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, and metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age was Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses. The number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators were mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also had a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who were proficient in Sanskrit has gradually increased, and the translation work did not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty was more all-sided in organization. “According to records, the translation workshop of the Tang Dynasty had as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them were rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts were more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believed that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese was mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
&lt;br /&gt;
By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
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The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
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Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
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Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
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Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
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Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
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Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
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Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
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WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:11, 21 December 2020 (UTC)&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi ==&lt;br /&gt;
&amp;lt;center&amp;gt;成于思	Cheng Yusi No.202020080598 比较文学与跨文化研究&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the chapter is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the chapter will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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André Lefevere; ''Translation History and Culture: A Sourcebook''; Liu Miqing; ''A Comparative Study of Chinese and Western Translation Principles''; “cultural turn”; John Dryden; translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This chapter presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, the chapter intends to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This chapter will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, paraphrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. Dryden's comparison of a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
&lt;br /&gt;
===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements, which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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I enjoy reading this book because it brings those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;an author and a translator&amp;quot; to &amp;quot;a master and a slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracts two statements by Dryden and relatively places them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracts an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposes three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposes a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argues that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compares a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars, like Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) &lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works were with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
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About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
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===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
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In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
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Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
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The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
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He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
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The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
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Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
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Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
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The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognizes that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School and New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
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Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot;, and he gives his reasons: first, the lack of compass of theories which can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current superficial, assertive and rational views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
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The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
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Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulated that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
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Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation principles that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the feature of the tradition of Chinese translation changes from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
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As such, the flourishing of translation is bound to be our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
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The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
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The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
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The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
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Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
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Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
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Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argues that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provides a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
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===4. Comparison between the books of ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
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Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
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===4.2 From the aspect of the arrangement===&lt;br /&gt;
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Both of these two books are arranged in theme rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters, which are concerned with the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. As to the longer essays, they are collected in the last chapter. &lt;br /&gt;
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Liu arranges his book differently. Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includs the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which helps readers understanding translation principles.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In conclusion, the paper intends to help readers to have better understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of a translator to a slave. Then, it figures out the reasons of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 12:08, 20 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
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André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
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Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
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Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
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Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
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Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
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Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
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Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
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Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
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Ancient Translation Period&lt;br /&gt;
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The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
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Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）&lt;br /&gt;
Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
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A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
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(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
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Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
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Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
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Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
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===Analysis of Theoretical Research Status===&lt;br /&gt;
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Descriptive Analysis of Translation Theory Research&lt;br /&gt;
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First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
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The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
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First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
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Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
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===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
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Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645 MTI 英语口译==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.（Venuti，1995）&lt;br /&gt;
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Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku,2011）&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku,2011）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words.（Zhang le 2017，37）&lt;br /&gt;
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[Take Chinese and English for example ,the word “落汤鸡”can not be translated as “soup chicken”,in literal, as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain, but in England ,a country with developed industry, people are no longer farming ,so it may be hard for them to understand as they have not seen it before, instead ,the familiar thing they can image is the drowned mouse ,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily, after the rain ,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
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To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
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Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just in the  south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou 苏州(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan 银川(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
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For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
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For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* wenku.(2011).翻译中的归化异化.&amp;quot;Domestication and Foreignization in Translation&amp;quot; .https://wenku.baidu.com/view/a63459ee81c758f5f61f67e0.html.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:28, 20 December 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recording two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) &lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. &lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） &lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei etc. (Yi Jing,2009)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
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'''3.2.2 The awareness of an independent discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )&lt;br /&gt;
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Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) &lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
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Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
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Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 &lt;br /&gt;
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The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
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Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)&lt;br /&gt;
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The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )&lt;br /&gt;
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4.4.2 Discipline structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)&lt;br /&gt;
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From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.&lt;br /&gt;
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Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.&lt;br /&gt;
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Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''&lt;br /&gt;
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Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.&lt;br /&gt;
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Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.&lt;br /&gt;
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Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.&lt;br /&gt;
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Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp;amp; Arts] 35-41.&lt;br /&gt;
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Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].&lt;br /&gt;
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Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.&lt;br /&gt;
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Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.&lt;br /&gt;
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Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.&lt;br /&gt;
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Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.&lt;br /&gt;
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Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.&lt;br /&gt;
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O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.&lt;br /&gt;
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Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
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Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
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Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
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Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
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Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
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Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].&lt;br /&gt;
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Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.&lt;br /&gt;
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Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
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Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.&lt;br /&gt;
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Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
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Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658,外国语言学及应用语言学 Foreign Linguistics and Applied Linguistics==&lt;br /&gt;
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&amp;lt;center&amp;gt;许晶Xu Jing  202020080658&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
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With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Translation Studies, translation education, translation talents&lt;br /&gt;
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==='''题目'''===&lt;br /&gt;
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对中国翻译学学习的反思&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。&lt;br /&gt;
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==='''关键词'''=== &lt;br /&gt;
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翻译学，翻译教育，翻译人才&lt;br /&gt;
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==='''1. Introduction'''===&lt;br /&gt;
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1.1. The Connotation of Translation Studies&lt;br /&gt;
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Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
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Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
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Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
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Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
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1.2. The Significance of Translation Studies&lt;br /&gt;
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With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
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As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
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Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
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==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
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Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.&lt;br /&gt;
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2.1. The Exploration Period of Translation Studies &lt;br /&gt;
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In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
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The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.&lt;br /&gt;
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However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, as well as translation criticism, translation publishing, and translation management, etc.&lt;br /&gt;
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At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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2.2. The Development Period of Translation Studies &lt;br /&gt;
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At the beginning of this period, translation studies explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge. Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)&lt;br /&gt;
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2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
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In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers should help students to acquire the industry knowledge, technology, skills and accomplishments that required by the language service market. Teachers can invite industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
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3.1. Translation Education &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018）&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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In addition, due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)&lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019）&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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3.2.2. Insufficient background knowledge &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information.&lt;br /&gt;
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With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
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3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
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==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.&lt;br /&gt;
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4.1. Translation Education&lt;br /&gt;
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Translation education plays an important role in cultivating translation talents, and a good translation education system will provide a good environment for students to learn Translation Studies, so it is necessary to improve translation education system.&lt;br /&gt;
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4.1.1. Improve Teaching Mode&lt;br /&gt;
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The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019)&lt;br /&gt;
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4.1.2. Strengthen Faculty Force&lt;br /&gt;
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Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019）&lt;br /&gt;
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Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
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4.1.3. Broaden the academic vision of translation&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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4.2. Students &lt;br /&gt;
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Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
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4.2.1. Expanding knowledge&lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
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Students must spend enough time in practicing. They can take part in many social activities to experience different aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
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From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 15:23, 20 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.&lt;br /&gt;
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Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.&lt;br /&gt;
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Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].&lt;br /&gt;
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Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.&lt;br /&gt;
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Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.&lt;br /&gt;
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Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. &lt;br /&gt;
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&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on domestication strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
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====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;The highest art can only be understood by a few&amp;quot;, &amp;quot;Art has its own many grades, so the appreciation of art also has many grades. &amp;quot;. (Liang Shiqiu: R.O.C. 23) &lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
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====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously&lt;br /&gt;
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In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
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Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
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When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Irving Babbitt, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
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====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.&lt;br /&gt;
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For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
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EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
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伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
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This man hath my consent to marry her．&lt;br /&gt;
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是我答应把我女儿嫁给他的&lt;br /&gt;
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Stand forth，Lysander．&lt;br /&gt;
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走上前来，拉山德。&lt;br /&gt;
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And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
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殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
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In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
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拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
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否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
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Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
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First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
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LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
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Translation of Liang Shiqiu:&lt;br /&gt;
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赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
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否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
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HELENA She was a vixen when she went toschool: &lt;br /&gt;
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And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
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海 上学时她就是个狐狸精。&lt;br /&gt;
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她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
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Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
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Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
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For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
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Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
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Liang’s version :&lt;br /&gt;
&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
&lt;br /&gt;
For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
&lt;br /&gt;
By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
&lt;br /&gt;
Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
 &lt;br /&gt;
Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
          &lt;br /&gt;
Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
&lt;br /&gt;
Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
  &lt;br /&gt;
Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
&lt;br /&gt;
Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
&lt;br /&gt;
Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
&lt;br /&gt;
Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Toury and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Toury, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
&lt;br /&gt;
According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
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In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
&lt;br /&gt;
Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
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==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，使读者深刻理解描写性翻译研究的地位。&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
&lt;br /&gt;
He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
&lt;br /&gt;
For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
&lt;br /&gt;
Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
&lt;br /&gt;
Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
&lt;br /&gt;
However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
&lt;br /&gt;
====2.4 Polysystem Theory====&lt;br /&gt;
&lt;br /&gt;
In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem(多元体系派) is not satisfied with the achievements made by the translation studies(翻译研究派). It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
&lt;br /&gt;
According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
&lt;br /&gt;
Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
&lt;br /&gt;
====2.5 Gideon Toury&lt;br /&gt;
    &lt;br /&gt;
Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
&lt;br /&gt;
This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
&lt;br /&gt;
Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
&lt;br /&gt;
In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
&lt;br /&gt;
Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
&lt;br /&gt;
He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
&lt;br /&gt;
====2.6 Snell-Hornby&lt;br /&gt;
&lt;br /&gt;
In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
&lt;br /&gt;
Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
&lt;br /&gt;
====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
    &lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
&lt;br /&gt;
Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
&lt;br /&gt;
(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
&lt;br /&gt;
(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
&lt;br /&gt;
The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory is undoubtedly meaningful and instructive, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
&lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
&lt;br /&gt;
====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
&lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
&lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Reference===&lt;br /&gt;
&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
&lt;br /&gt;
J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby. (1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满, Liu Fang 刘芳. (2005). 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究：从规范走向描写[Translation Studies: From the Prescriptive to the Descriptive Approach]. 中国翻译[Chinese Translation  Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. (2008). 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰. (2002). 多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
&lt;br /&gt;
==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
 &lt;br /&gt;
Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
===Abstract ===   &lt;br /&gt;
&lt;br /&gt;
Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
&lt;br /&gt;
Key words: translation strategies and translational problems.&lt;br /&gt;
&lt;br /&gt;
This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
&lt;br /&gt;
===Content===&lt;br /&gt;
&lt;br /&gt;
Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
&lt;br /&gt;
The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
&lt;br /&gt;
Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
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As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
&lt;br /&gt;
Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;br /&gt;
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== The Comparison of Machine Translation and Human Translation from the Perspective of Skopos Theory---A Case Study of E-C Translation of ''A Tale of Two Cities'' as an example - 欧阳静兰 OuYang Jinglan 202020080630==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;欧阳静兰 OuYang Jinglan &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid development of globalization and the Internet, international communication is expanding, and a lot of information needs to be translated. Due to the low efficiency of human translation, machine translation is indispensable today. However, due to the limitations of machine translation, the quality of machine translation is still worrying. Therefore, from the perspective of Skopos theory, this paper takes the E-C translation of ''A Tale of Two Cities'' as an example to analyze the machine translation of Google translation and Baidu translation, and compare it with the translation of Song Zhaolin, so as to explore the characteristics of machine translation and human translation, try to discuss the irreplaceable nature of human translation, and discuss how to combine machine translation with human translation to improve the quality and efficiency of translation. This paper is divided into five parts: the first part introduces the background of the current translation environment; the second part introduces Skopos Theory and discusses the feasibility of Skopos Theory in analyzing machine translation and human translation; the third part introduces the advantages and disadvantages of machine translation and human translation, and discusses the relationship between them; the fourth part is a case study to see machine translation from the perspective of Skopos theory Compared with manual translation, it is concluded that machine translation and manual translation must be combined to improve the efficiency and quality of translation. The fifth part is a summary of this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Skopos Theory, machine translation, human translation&lt;br /&gt;
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===题目===&lt;br /&gt;
目的论视角下机器翻译和人工翻译的对比---以《双城记》的英汉翻译为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着全球化和互联网的迅速发展，国际的交流日益扩大，大量信息需要翻译。由于人工翻译效率低下，在越来越强调效率和质量的今天，机器翻译必不可少。然而，由于机器翻译的局限性，机器翻译的质量仍然堪忧。因此,本文以目的论视角, 以《双城记》的英汉翻译为例，分析谷歌翻译和百度翻译的机器译文, 与宋兆霖版本的中文译本对比，由此探析机器翻译与人工翻译的特点,尝试论述人工翻译的不可替代性, 并讨论如何将机器翻译与人工翻译结合提高翻译的质量和效率。本文分为五个部分，第一部分对当前翻译环境背景的介绍；第二部分对目的论进行简介，并讨论目的论用于分析机器翻译和人工翻译的可行性；第三部分介绍机器翻译和人工翻译的优缺点，并讨论他们之间的关系；第四部分进行案例分析，从目的论视角下看机器翻译与人工翻译的对比，得出提高翻译效率与质量必须将机器翻译与人工翻译相结合。第五部分对全文进行总结。&lt;br /&gt;
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===关键词===&lt;br /&gt;
目的论 机器翻译 人工翻译 &lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
With the development of globalization, the growth of Internet and artificial intelligence, machine translation becomes an indispensable choice in today’s society. Compared with human translation, machine translation has the advantages of efficiency. As the traditional translation method, human translation can guarantee the accuracy of the text. In this information era, many people are thinking whether human translation will be replaced by machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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In September 2016, Google released the neural network translation system, which greatly improved the quality of machine translation. In November, Baidu CEO Robin Li stated at the Wuzhen Summit of the 3rd World Internet Conference that Baidu's artificial intelligence product &amp;quot;automatic translation&amp;quot; will enter a practical state. Therefore, this paper will put the original text of Tale of Two Cities in two representative public machine translation engines at home and abroad, &amp;quot;Google&amp;quot; and &amp;quot;Baidu&amp;quot;, to obtain the machine translation. Selecting texts from the famous classical novel ''A Tale of Two Cities'', and comparing machine translations and human translations based on this novel from the perspective of Skopos theory, this paper aims to investigate the relationship between human translation and machine translation and their developments in the future.  (Hu Kaibao 2016, 10)&lt;br /&gt;
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=== 2. Overview of Skopos Theory ===&lt;br /&gt;
In the 1970s, some eminent German translation theory scholars first proposed functional translation theory. Translation theorist Katharina Reiss divides text into three types: informative, expressive and operational. She suggested that according to different text types, different translation methods should be used for analysis, and different translation criticism standards should be adopted, that is, text types, language functions and translation strategies should be combined. In the translation process, it’s essential to focus on the functional characteristics of the target text. Her text type theory and translation criticism mode can be regarded as the beginning of functionalist Skopos theory. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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Hans Vermeer is Reiss's student. He further developed Reiss's theory and proposed Skopos theory. He believed that Skopos theory is based on the source text, and then may produce a series of purposeful and effective behaviors. The core of this theory is that &amp;quot;the purpose of translation determines translation strategies and method to achieve the expected purpose of translation&amp;quot; (Reiss &amp;amp; Vermeer 1984), and German scholars Justa Holz Manttari and Christian Nord further developed this theory which based on the theory of communication and behavior, and they  proposed that translation theory is not a simple translation between words and sentences, but a kind of conscious behavior for the purpose of cultural communication. (Reiss, K, &amp;amp; Vermeer 1984)&lt;br /&gt;
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====2.1 Three Rules of Skopos Theory====&lt;br /&gt;
The word “Skopos” is originated from the Greek language and means &amp;quot;purpose&amp;quot;. Skopos theory refers to the process of translation is determined by the purpose of the translation, so the purpose rule is the highest one of translation. Generally speaking, skopos theory includes three principles: Skopos rule, coherence rule (intra-textual coherence) and fidelity rule (also known as &amp;quot;inter-textual coherence&amp;quot;). (Nord 2001, 20)&lt;br /&gt;
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Skopos theory believes that the important principle to be followed is the &amp;quot;purpose&amp;quot; rule, it is the core rule of Skopos Theory: the process of translation should be based on the realization of the communicative function in the target language culture, and the goal to be achieved determines the entire process of translation, that is, the method determines the result. Vermeer differentiated the purpose of translation. He believes that the purpose of translation should include three levels: the purpose of the translator; the purpose of communication; the purpose of specific translation strategies. In most cases, a translator has a certain purpose before translation, such as being entrusted by a translation company, market demand or the need to introduce a technology. In most cases, &amp;quot;purpose&amp;quot; refers to the communicative purpose of translation. Under the guidance of the purpose of communication, the translator can have more space to interpret and adjust the original text. (Nord 2001, 78)&lt;br /&gt;
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To achieve the communicative and interative function between the target text and the target receptor, the target text needs to conform to the linguistic coherence, and be understood and accepted by the readers in the context of the target language and culture. The principle of coherence means that the target text must conform to the intra-textual coherence, that is, the translation must be understood by the target reader and be meaningful in the culture of the target language and the communication environment in which the translation is used. “The principle of coherence requires that the information generated by the translator (target text) must be interpreted in a manner consistent with the context of the target reader.” (Shuttleworth 2004: 75) This means the translator should maximize the translation Semantic coherence and makes the translation understandable and acceptable to the target readers. The target text can help target readers understand and successfully exchange information.&lt;br /&gt;
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The fidelity rule refers to the inter-textual coherence between the original text and the target text, which requires &amp;quot;consistency between the target text and the original text&amp;quot; (Munday, 2010: 79). Therefore, in the translation process, the translator should not only be faithful to the original text, but also transfer the writing style and cultural factors existed in the source text. This principle requires translator to follow the purpose of translation.&lt;br /&gt;
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In the process of translation, translators should follow three principles according to Skopos Theory: the Skopos rule, the coherence rule and the fidelity rule. Among these three rules in Skopos Theory, the skopos rule is the primary principle translators should adopt in the process of translation, and the coherence rule and the fidelity rule must follow the skopos rule. So in the case of translation practice, fidelity rule is subordinate to coherence rule, and both are subordinate to the Skopos rule. In a word, Skopos rule plays a decisive role in translation process, and it should be considered first in translation. (Fang Mengzhi 2011, 20)&lt;br /&gt;
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====2.3 Application of Skopos Theory====&lt;br /&gt;
Skopos Theory is different from traditional theories which overemphasize the features of language rules. With regard to Skopos Theory, it requires that translators should not only consider the language but also take account of factors beyond texts and language like the purpose of translation. As for ''A Tale of Two Cities'', the purpose is to make the target reader feel the same as the source target reader.  Since this is a literary text, the cultural factors and rhetorical methods used in the source texts should be reflected in the target text. In addition, the feeling of the target text reader should be taken into consideration in the process of translation. Therefore, the translation should conform to habits of the target language. But guided by Skopos Theory, the advantages and disadvantages of machine translation can be easily analyzed, so that a better solution can be founded between human translation and machine translation.&lt;br /&gt;
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===3. Machine Translation and Human Translation===&lt;br /&gt;
Translation activities have a long history. As far as China is concerned, translation has a history of more than two thousand years. However, the translation tools have rarely changed, and the translations are always been done by &amp;quot;translators&amp;quot;. With the development of science and technology and the acceleration of globalization, there is an increasing need for translation. Therefore， &amp;quot;machine&amp;quot; translation has emerged. High efficiency and low cost of machine translation make people think about whether machine translation will replace human translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.1 Advantages and disadvantages of human translation====&lt;br /&gt;
Human translation has both advantages and disadvantages. For example, human translation has the characteristics of flexibility, accuracy, high readability and humanization of language. At the same time, however, compared with machine translation, human translation is less efficient and easy to be influenced by translator's own cultural background and translation capacity so it is difficult to achieve rapid development. Before the advent of machine translation, all translation activities were done by human. Compared with machine, translators, as a bridge of cross-cultural communication, are more flexible. Translation itself is a complex activity. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Professional translators who have certain cultural background knowledge can choose different translation methods and strategies according to the similarities and differences between the two languages and cultures, so it is more flexible and accurate. The flexibility of human language enables the translator to express the meaning of the original text in a more abundant language, and accurately handle the rhetorical devices in the original text. Therefore, the target text of human translation must be more readable than that of machine translation. Human translation has a long history, and people's research on translation has never stopped. Many excellent translators have emerged in the world and put forward various translation ideas and strategies. Translation has established a relatively mature and complete theory. With the rapid development of China's economy and the increasing number of foreign exchanges, the demand for translation is on the rise. At the same time, the time spent on translation needs to be shortened. Therefore, manual translation alone cannot meet the needs of the translation market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.2 Advantages and disadvantages of machine translation====&lt;br /&gt;
Machine translation refers to thefact that a language can be transferred into another language automatically with the help of machine. The idea of machine translation was firstly put forward by Weaver in his book Translation in 1949. Since the end of the 20th century, the development of the Internet and computer technology has provided more optional software and engines for machine translation. At the same time, the corpus has become richer and more complete, greatly improving the efficiency and quality of machine translation. (Jin Wenlu 2019, 40)&lt;br /&gt;
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The current machine translation is based on the &amp;quot;Neural Machine Translation&amp;quot; (NMT) model of artificial intelligence. Currently, the popular web page machine translations include Youdao Translation, Baidu Translation, Google Translation and so on. Google is currently in a leading position in both voice translation and text translation. Google Translation is a service provided by Google to translate texts and web pages, providing instant translation between more than 100 languages. It can provide translations of words, sentences and web pages between any two languages it supports. The more human translation documents that can be analyzed for a particular language are, the higher the quality of the translation is. In addition, Google's web page translation is fast, especially free to use, so it has a considerable number of users in translation activities, especially students. Therefore, this paper will take Google Translation and Baidu Translation as an example to analyze the translation quality, which is representative in the market. (Jin Wenlu 2019, 40)&lt;br /&gt;
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Generally speaking, machine translation has the characteristics of high efficiency, low cost, accuracy of terminology translation, and great development potential. Machine translation is fast and efficient, for which human translation cannot match. Secondly, the price of machine translation is low, even free, which greatly reduces the economic cost and time cost for those who do not require high translation quality. In addition, compared to human translation, the huge corpus established by machine translation makes the translation of some terms, especially the latest scientific and technological terms, faster and more accurate. The accurate translation of these terms requires continuous learning by the translator, and learning requires a process, which has a certain test of the translator's learning ability and learning speed. At this point, human translation has uncertainty and lag. Finally, although the history of machine translation is short, it has achieved rapid development. With the advancement of science and technology and the development of society, the functions of machine translation will be more perfect and the quality of translation will be better. (Jin Wenlu 2019, 40)&lt;br /&gt;
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First of all, from a microscopic point of view, machine translation often has problems in the choice of word meaning, especially when there is one word with different meanings. It needs the translator to select the meaning based on the context, while machine translation cannot accurately choose the meaning of a word in combination with the context. What’s more, the word order of the translated sentence often does not conform to the word order and expression habits of the target language. From the aspect of tense, it is more accurate when translating English into Chinese, because words in English can directly change tense. However, there are sometimes problems such as no corresponding tenses when translating Chinese into English. From a macro point of view, machine translation does not have cultural sensitivity and is not accurate enough for the translation of some idioms and proverbs with strong cultural color. (Jin Wenlu 2019, 40)&lt;br /&gt;
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====3.3 Relationship between machine translation and human translation====&lt;br /&gt;
Machine translation is based on human translation, and the establishment of corpus that machine translation relies on needs human participation. When translating technical terms, machine translation corpus and parallel text can greatly reduce the time when find and determine proper equivalent terms. However, the establishment of these corpora needs well-translated materials. The accuracy and usability of corpus are also affected by the quality of human translation. Therefore, they restrict and influence each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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There are more or less defects in the micro and macro aspects of machine translation. At the micro level, it mainly includes vocabulary, syntax, tense, and so on. However, at the macro level, it mainly includes text cohesion and cultural background. Therefore, human translation is essential. In addition, all machine translation inspection, modification, sorting and other work must also be carried out manually, so as to make the translation quality better and meet the requirements of communication. It can be seen that machine translation alone cannot meet the requirements of high quality translation. Translation activities cannot be separated from human participation. Therefore, with the development of machine translation, translation should be completed by both machine and human. The two are related, influenced with each other. (Jin Wenlu 2019, 40)&lt;br /&gt;
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===4. Case Study from the Perspective of Skopos Theory===&lt;br /&gt;
A Tale of Two Cities is a long historical novel by British writer Charles Dickens, first published in 1859. The story is set in the French Revolution and has a touching plot. It is one of the world's literary classics. The twin cities refer to Paris and London. The story connects these two cities and tells the story of the Parisian doctor Manette. He was persecuted by the brothers of the Marquis St. Evremonde due to injustice and was detained in the Bastille prison for 18 years. After being released from prison, Mannette's daughter Lucie fell in love with the enemy's son Darney. Thus, in the whirlpool of the French Revolution, scenes of family grievances and hatred were staged grandly. Life and death, good and evil were blended in conflict and changed in an instant. On the guillotine, Carton calmly sacrificed his life for love. （Dickens 2016）&lt;br /&gt;
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A Tale of Two Cities has a rigorous structure and condensed language. Dickens's profound thinking on revolution and humanity and his breathtaking writing talent are fully demonstrated. This paper selects the most representative classic sentences in the text for comparative analysis of translation, studies whether neural network machine translation software can accurately translate classic literary works, and explores whether neural network machine translation will replace manual translation in the context of artificial intelligence. The human translation was by Zhaolin Song. Among the many translation versions in China, Song’s translation was regarded as the version which closes to the source text most. (Feng Baoyin 2018, 232)&lt;br /&gt;
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====4.1 Case Study from the perspective of Skopos Rule====&lt;br /&gt;
In Vermeer’ opinion, the dominant rule for any translation should be the skopos rule, which means that a translation action is determined by its purposes. That is to say, the translation action should be in accordance with the target context and culture. The purposes of target text determine the translation strategies and methods used in translation process. A good translation should conform to the target culture and meet target audiences’ expectations. According to Nord, “Skopos of a particular translation task may require a ‘free’ or a ‘faithful’ translation, or anything between these two extremes, depending on the purpose for which the translation is needed”. Once the intended purposes are achieved, the translation will be considered as reasonable and proper. It is unnecessary for the translation to be equivalent to the source text. (Nord 1997, 102)&lt;br /&gt;
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Example 1: We were all going direct to heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. （Dickens 2016, 15）&lt;br /&gt;
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Google translation: 我们都直接去天堂，我们都直接去天堂- -简而言之，这一时期与目前的时期如此遥远，以至于它的一些最吵闹的当局坚持以最高的比较程度来接受它是好是坏。&lt;br /&gt;
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Baidu translation: 我们是所有的人都直接去天堂，我们都朝着另一个方向去——简而言之，这个时期和现在的时代非常相似，以至于一些最吵闹的权威坚持要接受它，不管是好是坏，只是在最高级的比较中。&lt;br /&gt;
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Human translation（Zhaolin Song）: 我们大家都在直升天堂，我们大家都在直下地狱——简而言之，那个时代和当今这个时代是如此相似，因而一些吵嚷不休的权威们也坚持认为，不管它是好是坏，都只能用“ 最……”来评价它。(Song Zhaolin 2005, 20)&lt;br /&gt;
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Analysis: &lt;br /&gt;
Since this is selected from a novel, the purpose of translation should be express the meaning and beauty of the source text. As for the Google translation, there was a mistake in translating &amp;quot;We were all going directly the other way&amp;quot;. The translated meaning is totally different from the original.  As to Baidu translation, it expressed the meaning of the original text, but the way it expressed the original meaning may confuse the target text reader. In regards to human translation, the translator of this edition adopts the combination of literal translation and free translation. In this way, the translation not only clearly expresses the original meaning, but also takes into account the literariness of the work, so that readers can feel the characteristics of the times more vividly&lt;br /&gt;
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====4.2 Case study from the perspective of coherence rule====&lt;br /&gt;
Coherence rule is also called “intra-textual coherence”, which means that the translation should be acceptable and understandable for the target audiences and be meaningful in the communicative situation and culture in which it is received. In other words, the target text should conform to the target receivers’ situation, including their given knowledge, background culture and specific circumstances. (Nord 1997, 120)&lt;br /&gt;
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&lt;br /&gt;
Example 2: Questions, questions, questions! (Charles Dickens 2016, 56)&lt;br /&gt;
&lt;br /&gt;
Google Translation: 问题，问题，问题！&lt;br /&gt;
&lt;br /&gt;
Baidu Translation: 问题，问题，问题！&lt;br /&gt;
&lt;br /&gt;
Human translation（Zhaolin Song）: 问题一个接一个地提出来！(Song Zhaolin 2005, 68)&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, the original text uses three &amp;quot;questions&amp;quot; in a row to enhance the tone. However, Google and Baidu Translation directly translated it into &amp;quot;问题，问题，问题！&amp;quot;, which sounds too blunt to read. The target text translated by Google and Baidu cannot reflect the meaning of the original text. What's more, it makes it hard for target readers to get the meaning of the text. While the translator chose the free translation method to make the translation more natural and smooth. The translated text followed the coherence rule in the process of translation.&lt;br /&gt;
&lt;br /&gt;
Example 3: But just because he had a powerful enemy---an enemy with the power to send him to prison and to keep him there, hidden and forgotten, for eighteen years. (Charles Dickens 2016, 102)&lt;br /&gt;
&lt;br /&gt;
Google translation: 但是仅仅因为他有一个强大的敌人-一个有能力将他送进监狱并将其隐藏和遗忘在监狱里长达十八年的敌人。&lt;br /&gt;
&lt;br /&gt;
Baidu translation:只是因为他有一个强大的敌人，一个有能力把他送进监狱，把他关在那里，隐藏起来，被遗忘18年。&lt;br /&gt;
&lt;br /&gt;
Human translation(Song Zhaolin): 而只是因为他有一个强大的敌人-这个敌人拥有权势将他投进监狱，而且把他在那里与世隔绝、被人遗忘地关了18年。(Song Zhaolin 2005, 130)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Analysis: In terms of grammar, English uses long sentences, which are connected by functional words, such as conjunctions, prepositions and relative words. Its syntactic structure is relatively complex and it is a hypotactic language. Chinese is a paratactic language. In the process of E-C translation, we often use disassembly syntax to translate a long and complex English sentence into several short and simple Chinese short sentences. From Google Translation, it directly translated the structure of the original text. The target text created by Google translation doesn't conform to target language structure. While the translation of Baidu almost in accordance with the target language structure. As to the human translation, not only was the structure, but also the meaning was perfectly expressed.&lt;br /&gt;
&lt;br /&gt;
====4.3 Case study from the perspective of fidelity rule====&lt;br /&gt;
Fidelity rule is also named by Vermeer as “intertextual coherence”, which puts emphasis on the relationship between the source text and target text. Based on Skopos theory, fidelity rule requires that the target text should be in accordance with the source text, which means the information contained in the source text should be exactly conveyed by the target text under the translators’ efforts. (Nord 1997, 140)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 1: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us. （Dickens 2016, 15）&lt;br /&gt;
 &lt;br /&gt;
Google Translation: 那是最美好的时光，那是最糟糕的时光，那是智慧的时代，那是愚昧的时代，那是信仰的时代，那是轻信的时代，那是光明的季节， 是黑暗的季节，是希望的春天，是绝望的冬天，我们眼前的一切，眼前的一切。&lt;br /&gt;
 &lt;br /&gt;
Baidu Translation: 那是最好的时代，最坏的时代，智慧的时代，愚昧的时代，信仰的时代，不信的时代，光明的季节，黑暗的季节，希望的春天，绝望的冬天，我们面前什么都有，面前什么都没有。 &lt;br /&gt;
&lt;br /&gt;
Human Translation (Zhaolin Song): : 那是最美好的时代，那是最糟糕的时代；那是个睿智的年月，那是个蒙昧的年月；那是信心百倍的时期，那是疑虑重重的时期；那是阳光普照的季节，那是黑暗笼罩的季节；那是充满希望的春天，那是让人绝望的冬天；我们面前无所不有，我们面前一无所有。（Song Zhaolin 2005, 20）&lt;br /&gt;
 &lt;br /&gt;
Analysis: This is the classic opening paragraph in &amp;quot;A Tale of Two Cities&amp;quot;, and it can be said to be very popular. On the whole, because of the simple structure of this paragraph, the two machine-translated translations all accurately express the content of the original text, but one shortcoming is that it is difficult for machine translation to express the unique beauty of rhythm of the original text.&lt;br /&gt;
&lt;br /&gt;
Through the analysis of the translation of commonly used machine translation software and human translation from the perspective of Skopos Theory, we can conclude that for the translation of literary works, machine translation can accurately express the meaning of the original text, even equal to manual translation if there are only some simple expressions in the source texts. However, the quality of machine translation needs to be improved some sentences with complex sentence patterns and difficult grammatical structures. Therefore, the translation of literary works by machines  still have a long way to go.&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
The main purpose of this paper is to find a better solution between machine translation and human translation under the guidance of the Skopos Theory for optimizing weaknesses of machine translation platforms, which not only generates solutions to errors, but also improves the quality of machine translation. &lt;br /&gt;
&lt;br /&gt;
Theoretically, this paper applies Skopos Theory to guide human translation and machine translation of literary texts. Machine translation can be regarded as a basis of human translation, while those errors caused by machine translation can be improved manually after the completion of machine translation. Meanwhile, by employing appropriate translation methods and techniques, such as semantic conversion, amplification, omission and so on, human translation based on machine translation enormously solves errors in machine translation which further optimizes weaknesses of machine translation. Human translation process also becomes more efficient with the help of machine&lt;br /&gt;
&lt;br /&gt;
As for machine translation, firstly, machine translation platforms can’t replace translators on account of its incomplete corpus and limitations in transferring the cultural meaning. Secondly, errors at lexical level caused by defects of machine translation are much more than that at syntactical level. Lastly, machine translation platforms are restricted by contexts of language, situation and culture which lead to incorrect target text.&lt;br /&gt;
&lt;br /&gt;
In regard with human translation, from the perspective of Skopos theory, human translation is more understandable and readable to target readers than that of machine translation. It’s essential for the translator to know typical errors in machine translation, features of machine translation platforms and characteristics of the source text, which could fascinate the efficiency of translation. All in all, machine translation platforms enhance the efficiency of translating large amount of material and human translation provides a solution for machine translation of poor quality. Machine translation and human translation are complement to each other.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Charles Dickens. (2016). A Tale of Two Cities. Macmillian.&lt;br /&gt;
&lt;br /&gt;
* Fang Mengzhi 方梦之. (2011). 中国译学大辞典 [A Dictionary of Translation Studies in China] 上海外语教育出版社(leave a blank space)Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
* Feng Baoyin(leave a blank space)冯宝茵 (2018). 从读者反应论对比两个《双城记》译本 [A comparative study of two versions of a tale of two cities from the perspective of reader response theory]. 北方文学, Northern Literature (36):232.&lt;br /&gt;
&lt;br /&gt;
* Hu Kaibao &amp;amp; Li Yi胡开宝 &amp;amp; 李翼. (2016). 机器翻译特征及其与人工翻译关系的研究. [Research on the characteristics of machine translation and its relationship with human translation] 中国翻译 Chinese Translation (05),10-14. &lt;br /&gt;
&lt;br /&gt;
* Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.&lt;br /&gt;
&lt;br /&gt;
* Mark Shuttleworth (2004). Dictionary of Translation Studies. Foreign Language Teaching and Research Press. 75.&lt;br /&gt;
&lt;br /&gt;
* Munday, J. (2001). Introducing Translation Studies: Theories and Application. London: Routeledge. 78.&lt;br /&gt;
&lt;br /&gt;
* Reiss, K &amp;amp; Vermeer, H. J. (1984). Groundwork for a General Theory of Translation. Tubingen: Niemeyer.&lt;br /&gt;
&lt;br /&gt;
* Song Zhaolin(leave a blank space)宋兆霖 (2005). 双城记 A Tale of Two Cities 中国戏剧出版社, China Drama Press.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=118868</id>
		<title>20201215 cultexam 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=118868"/>
		<updated>2020-12-21T15:33:50Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Spring Festival Couplets */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei];  [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.&lt;br /&gt;
&lt;br /&gt;
'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
==Chinese Astrology - Alsied, Saffana==&lt;br /&gt;
&amp;quot;Chinese Astrology&amp;quot;--[[User:SAFFANA ALSIED ,Student No:201921080006.. Major..Comparative Literature and Cross-cultural studies.&lt;br /&gt;
&lt;br /&gt;
===The History===&lt;br /&gt;
&lt;br /&gt;
So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the  source is coming from ?&lt;br /&gt;
&lt;br /&gt;
===The Five Elements And YIN/YANG===&lt;br /&gt;
&lt;br /&gt;
Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation  please?&lt;br /&gt;
&lt;br /&gt;
A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?&lt;br /&gt;
&lt;br /&gt;
===THE FORCES OF YIN / YANG===&lt;br /&gt;
&lt;br /&gt;
Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.&lt;br /&gt;
&lt;br /&gt;
A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?&lt;br /&gt;
&lt;br /&gt;
Chinese astrology was invented to achieve the two following goals;&lt;br /&gt;
&lt;br /&gt;
1.)  To predict the future,&lt;br /&gt;
&lt;br /&gt;
2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. &lt;br /&gt;
&lt;br /&gt;
According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?&lt;br /&gt;
&lt;br /&gt;
Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?&lt;br /&gt;
&lt;br /&gt;
The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?&lt;br /&gt;
&lt;br /&gt;
You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Astrology 中国占星学&lt;br /&gt;
&lt;br /&gt;
2. Chinese Zodiac 中国十二生肖&lt;br /&gt;
&lt;br /&gt;
3. Agricultural calendar 农业日历&lt;br /&gt;
&lt;br /&gt;
4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）&lt;br /&gt;
&lt;br /&gt;
5. The Oriental philosophy 东方哲学&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1-Why was Chinese astrology invented?&lt;br /&gt;
&lt;br /&gt;
2-How Chinese astrology relates to a person’s divine destiny?&lt;br /&gt;
&lt;br /&gt;
3-What important role does the Chinese zodiac play in Chinese culture?&lt;br /&gt;
&lt;br /&gt;
4- What is Chinese astrology based on?&lt;br /&gt;
&lt;br /&gt;
5-Is Chinese astrology accurate?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.&lt;br /&gt;
&lt;br /&gt;
2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.&lt;br /&gt;
&lt;br /&gt;
3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.&lt;br /&gt;
&lt;br /&gt;
4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.&lt;br /&gt;
&lt;br /&gt;
5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9&lt;br /&gt;
&lt;br /&gt;
何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591&lt;br /&gt;
&lt;br /&gt;
Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Leiden: Brill. 3-4. ISBN 978-90-04-10737-3.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;'Almanac' 'lunar' zodiac beginning of spring as the boundary dislocation? — China Network&amp;quot;. 16 February 2009. Retrieved 5 January 2011.&lt;br /&gt;
&lt;br /&gt;
Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Five Elements (Wu Xing)&amp;quot;. YourChineseAstrology.com&lt;br /&gt;
&lt;br /&gt;
==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==&lt;br /&gt;
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Spring Festival Couplets===&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).&lt;br /&gt;
&lt;br /&gt;
Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).&lt;br /&gt;
&lt;br /&gt;
The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).&lt;br /&gt;
&lt;br /&gt;
There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.&lt;br /&gt;
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.&lt;br /&gt;
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.&lt;br /&gt;
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions ===&lt;br /&gt;
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 &lt;br /&gt;
&lt;br /&gt;
Paste 贴&lt;br /&gt;
&lt;br /&gt;
Horizontal scroll 横联&lt;br /&gt;
&lt;br /&gt;
Upper scroll 上联&lt;br /&gt;
&lt;br /&gt;
Lower scroll 下联&lt;br /&gt;
&lt;br /&gt;
===Questions ===&lt;br /&gt;
1.What’s the purpose of pasting Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
2.What’s the historical origin of Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
3.How to read the Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
4.How to do with the Old Couplets?&lt;br /&gt;
&lt;br /&gt;
===Answers ===&lt;br /&gt;
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
&lt;br /&gt;
2.It  originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.&lt;br /&gt;
&lt;br /&gt;
3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. &lt;br /&gt;
&lt;br /&gt;
4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.&lt;br /&gt;
&lt;br /&gt;
==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - MTI 英语笔译==&lt;br /&gt;
&lt;br /&gt;
[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Guzheng===&lt;br /&gt;
&lt;br /&gt;
''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument and was widespread at that time. Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. (Wang Xiaohong &amp;amp; Gu Haijun 2019, 69)&lt;br /&gt;
&lt;br /&gt;
There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. (Jin Jianmin 1988, 51)&lt;br /&gt;
&lt;br /&gt;
The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were originally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. Since the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)&lt;br /&gt;
&lt;br /&gt;
[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;amp;z=0&amp;amp;ipn=d&amp;amp;word=古筝&amp;amp;step_word=&amp;amp;hs=0&amp;amp;pn=27&amp;amp;spn=0&amp;amp;di=9900&amp;amp;pi=0&amp;amp;rn=1&amp;amp;tn=baiduimagedetail&amp;amp;is=0%2C0&amp;amp;istype=2&amp;amp;ie=utf-8&amp;amp;oe=utf-8&amp;amp;in=&amp;amp;cl=2&amp;amp;lm=-1&amp;amp;st=-1&amp;amp;cs=3246661627%2C3658564396&amp;amp;os=3335747328%2C3552694810&amp;amp;simid=0%2C0&amp;amp;adpicid=0&amp;amp;lpn=0&amp;amp;ln=1718&amp;amp;fr=&amp;amp;fmq=1607348039297_R&amp;amp;fm=result&amp;amp;ic=&amp;amp;s=undefined&amp;amp;hd=&amp;amp;latest=&amp;amp;copyright=&amp;amp;se=&amp;amp;sme=&amp;amp;tab=0&amp;amp;width=&amp;amp;height=&amp;amp;face=undefined&amp;amp;ist=&amp;amp;jit=&amp;amp;cg=&amp;amp;bdtype=0&amp;amp;oriquery=&amp;amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;amp;gsm=1c&amp;amp;rpstart=0&amp;amp;rpnum=0&amp;amp;islist=&amp;amp;querylist=&amp;amp;force=undefined]for original source.]]&lt;br /&gt;
&lt;br /&gt;
The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke a sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)&lt;br /&gt;
&lt;br /&gt;
Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school (Cao Yue 2002, 84).&lt;br /&gt;
&lt;br /&gt;
In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated in a TV show — ''National Music Ceremony'', which is a large-scale original Chinese classical music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing the ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)&lt;br /&gt;
&lt;br /&gt;
From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.&lt;br /&gt;
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.&lt;br /&gt;
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. &lt;br /&gt;
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.&lt;br /&gt;
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.&lt;br /&gt;
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.&lt;br /&gt;
*Wang Xiaohong, Gu Haijun 王晓红, 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
*Meng Tian 蒙恬 &lt;br /&gt;
*Zhao Lin 赵璘&lt;br /&gt;
*''Records on Words'' 《因话录》&lt;br /&gt;
*anterior mountain 前岳山 &lt;br /&gt;
*posterior mountain 后岳山&lt;br /&gt;
*''Yan Zhu'' 雁柱 &lt;br /&gt;
*string pegs 弦钉&lt;br /&gt;
*turning box 调音盒 &lt;br /&gt;
*zither feet 琴足&lt;br /&gt;
*paulownia 桐木 &lt;br /&gt;
*mahogany 红木&lt;br /&gt;
*''Dai Mao'' 玳瑁&lt;br /&gt;
*''Yi Jia'' 义甲&lt;br /&gt;
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹&lt;br /&gt;
*''High Mountains and Running Water'' 《高山流水》&lt;br /&gt;
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》&lt;br /&gt;
*''Jackdaw Playing in the Water'' 《寒鸦戏水》&lt;br /&gt;
*''The Tune of Liu Qing Niang'' 《柳青娘》&lt;br /&gt;
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香&lt;br /&gt;
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望&lt;br /&gt;
*''National Music Ceremony'' 《国乐大典》&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What kind of musical instrument does the ''guzheng'' belong to?&lt;br /&gt;
&lt;br /&gt;
2. Why the ''guzheng'' is deeply loved by Chinese? &lt;br /&gt;
&lt;br /&gt;
3. Who is Meng Tian? &lt;br /&gt;
&lt;br /&gt;
4. According to the legend, how did the ''se'' develop into the ''zheng''?&lt;br /&gt;
&lt;br /&gt;
5. How many strings does the ''guzheng'' have? How long is the guzheng?&lt;br /&gt;
&lt;br /&gt;
6. What is the function of movable bridges?&lt;br /&gt;
&lt;br /&gt;
7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? &lt;br /&gt;
&lt;br /&gt;
8. In ancient times, what materials were the fingerpicks made of?&lt;br /&gt;
&lt;br /&gt;
9. Generally speaking, how does the players strike notes? &lt;br /&gt;
&lt;br /&gt;
10. What styles can ''guzheng'' be divided into?&lt;br /&gt;
&lt;br /&gt;
11. Which school does ''The Autumn Moon in the Han Palace'' belong to? &lt;br /&gt;
&lt;br /&gt;
12. Do you know any other ''guzheng'' music? Please list some pieces.&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It belongs to plucked stringed instruments.&lt;br /&gt;
&lt;br /&gt;
2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. &lt;br /&gt;
&lt;br /&gt;
3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.&lt;br /&gt;
&lt;br /&gt;
4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. &lt;br /&gt;
&lt;br /&gt;
5. It usually has 21 strings and is 163 centimeters long. &lt;br /&gt;
&lt;br /&gt;
6. They are moved to change the timbres.&lt;br /&gt;
&lt;br /&gt;
7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.&lt;br /&gt;
&lt;br /&gt;
8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.&lt;br /&gt;
&lt;br /&gt;
9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. &lt;br /&gt;
&lt;br /&gt;
10. The Northern school and the Southern school.&lt;br /&gt;
&lt;br /&gt;
11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.&lt;br /&gt;
&lt;br /&gt;
12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).&lt;br /&gt;
&lt;br /&gt;
--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:36, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译==&lt;br /&gt;
===Facial makeup===&lt;br /&gt;
&lt;br /&gt;
Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up.(Wang Hai 2018, 62)  &lt;br /&gt;
&lt;br /&gt;
The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62) &lt;br /&gt;
&lt;br /&gt;
People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)&lt;br /&gt;
&lt;br /&gt;
The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)&lt;br /&gt;
&lt;br /&gt;
Red&lt;br /&gt;
&lt;br /&gt;
Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.&lt;br /&gt;
&lt;br /&gt;
Black&lt;br /&gt;
&lt;br /&gt;
Black facial makeup gives people the impression that the actor is serious,courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.&lt;br /&gt;
&lt;br /&gt;
White&lt;br /&gt;
&lt;br /&gt;
White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.&lt;br /&gt;
&lt;br /&gt;
Blue&lt;br /&gt;
&lt;br /&gt;
Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.&lt;br /&gt;
&lt;br /&gt;
Purple&lt;br /&gt;
&lt;br /&gt;
Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.&lt;br /&gt;
&lt;br /&gt;
Golden&lt;br /&gt;
&lt;br /&gt;
Golden facial makeup symbolizes dignity and power fitting roles like supernatural being such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
&lt;br /&gt;
The features of facial makeup are mainly as follows:&lt;br /&gt;
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese of insight start to explore the mystery of it.(Cao Juan, 2019, 61)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
painted face 花脸&lt;br /&gt;
&lt;br /&gt;
clown 丑角&lt;br /&gt;
&lt;br /&gt;
Sheng 生&lt;br /&gt;
&lt;br /&gt;
Dan 旦&lt;br /&gt;
&lt;br /&gt;
Jing 净&lt;br /&gt;
&lt;br /&gt;
Chou 丑&lt;br /&gt;
&lt;br /&gt;
Qingyi 青衣&lt;br /&gt;
&lt;br /&gt;
xiaosheng 小生&lt;br /&gt;
&lt;br /&gt;
laosheng 老生&lt;br /&gt;
&lt;br /&gt;
wusheng 武生&lt;br /&gt;
&lt;br /&gt;
Gao Changgong 高长恭&lt;br /&gt;
&lt;br /&gt;
legend，romance 传奇剧&lt;br /&gt;
&lt;br /&gt;
Erlang Shen, Erlang 二郎神&lt;br /&gt;
&lt;br /&gt;
Tathagata, Buddha 如来佛&lt;br /&gt;
&lt;br /&gt;
Sakyamuni 释迦牟尼&lt;br /&gt;
&lt;br /&gt;
Water Margin of the Marsh 水浒传&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.How many types are character roles divided into in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
2.What are the differences bbetween Sheng and Dan?&lt;br /&gt;
&lt;br /&gt;
3.What are the special features of Chou?&lt;br /&gt;
&lt;br /&gt;
4.What is the function of facial mask in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
5.What are the main features of facial makeup?&lt;br /&gt;
&lt;br /&gt;
6.What are the characteristics of characters wearing blue facial makeup?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.Four types:Sheng, Dan, Jing and Chou.&lt;br /&gt;
&lt;br /&gt;
2.Sheng refers to male roles while Dan refers to female roles.&lt;br /&gt;
&lt;br /&gt;
3.A patch of white powder is wiped on their nose.&lt;br /&gt;
&lt;br /&gt;
4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. &lt;br /&gt;
&lt;br /&gt;
5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.&lt;br /&gt;
&lt;br /&gt;
6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.&lt;br /&gt;
&lt;br /&gt;
Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.&lt;br /&gt;
&lt;br /&gt;
Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.&lt;br /&gt;
&lt;br /&gt;
==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==&lt;br /&gt;
&lt;br /&gt;
=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===&lt;br /&gt;
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Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.&lt;br /&gt;
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====1.Liu Cixin（刘慈欣）====&lt;br /&gt;
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Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)&lt;br /&gt;
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[[File: 21.jpg|300px|thumb|left|Cixin Liu. ILLUSTRATION: ZACHARY BAKO FOR THE WALL STREET JOURNAL. Click [https://www.zacharybako.com/]for original source.]]&lt;br /&gt;
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Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &amp;quot;Supernova Era&amp;quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)&lt;br /&gt;
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Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy &amp;quot;Memory of the Earth's Past&amp;quot; - the novel &amp;quot;The Problem of Three Bodies&amp;quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &amp;quot;The Three-Body Problem,&amp;quot; although this is not formally true.In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus. The novel gain such a great popularity that famous people like Barack Obama and Marc Zuckerberg recommended it to every single person in order to understand the perhaps future and how to avoid the negative contact with aliens.(Kakutani, Obama’s Secret to Surviving the White House Years:Books 2017, 1)&lt;br /&gt;
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Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.Also Liu Cixin is a big fan of reading books and he sometimes recommend not only to read classical sci-fi novels but also modern authors like Chen Qiufan, Derek Kunsken and so on.(Liu Cixin, Supernova Era 2019,15)&lt;br /&gt;
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====2.Chen Qiufan (陈楸帆） ====&lt;br /&gt;
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[[File:22.jpg|300px|thumb|left|Chen Qiufan photographed in Beijing by Gilles Sabrié. Click [https://www.gsabrie.com/] for original source.]]&lt;br /&gt;
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Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.(Chen Qiufan,Waste Tide, 2019,3)&lt;br /&gt;
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Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.(Chen Qiufan,Waste Tide, 2019,5)&lt;br /&gt;
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His debut book was ''The Empty Wave'', &amp;quot;combining realism and allegory to represent the hybridity of humans and machines.&amp;quot; Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian. His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.(Chen Qiufan,Waste Tide, 2019,8)&lt;br /&gt;
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Chen Qiufan is a constant consumer of entertainment and literature. He watches at least 100 new films and reads at least 50 books a year. He was recently recruited into the development of a television series called Eros, which will launch in 2019-2020. He compares it to Netflix's dystopian show Black Mirror. Chen travels frequently between Beijing, Shanghai and Hong Kong for various projects and literary festivals.(Chen Qiufan,Waste Tide,2019,17)&lt;br /&gt;
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====3.Rebecca F. Kuang (匡灵秀)====&lt;br /&gt;
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[[File:23.jpg|250px|thumb|left|Rebecca F. Kuang. Click [https://www.instagram.com/kuangrf/?hl=ru] for original source.]]&lt;br /&gt;
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When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Kuang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.(Rebecca F.Kuang, The Poppy War,2018,4)&lt;br /&gt;
Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.(Rebecca F.Kuang, The Poppy War,2018,7)&lt;br /&gt;
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The last news about R.F.Kuang is that she wrote a short tale for an anthology of Star Wars saga, which was published in November. She wrote about this news in her Twitter.(Twitter 2020)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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1. Science fiction - 科幻&lt;br /&gt;
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2. Fantasy - 奇幻&lt;br /&gt;
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3. Horizon - 地平线&lt;br /&gt;
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4. Broad - 拓宽&lt;br /&gt;
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5. Hybrid - 杂种&lt;br /&gt;
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6. The plot - 情节&lt;br /&gt;
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7. Garbage - 垃圾堆&lt;br /&gt;
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8. Heyday - 壮年&lt;br /&gt;
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9. Supernova - 超新星&lt;br /&gt;
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===References===&lt;br /&gt;
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*Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html&lt;br /&gt;
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*Chen Qiufan 陈楸帆. (2019). Waste Tide 荒潮. Tor Books; Translation edition. Translated by Ken Liu - 342 pp.&lt;br /&gt;
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*Liu Cixin 刘慈欣. (2019). Supernova Era 超新星纪元. Tor Books; First Edition. Translated by Joel Martinsen - 352 pp.&lt;br /&gt;
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*Rebecca F.Kuang 匡灵秀. (2018). The Poppy War 罂粟战争. Harper Voyager - 530 pp.&lt;br /&gt;
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*Michiko Kakutani, Obama’s Secret to Surviving the White House Years: Books. The New York Times, 2017. https://www.nytimes.com/2017/01/16/books/obamas-secret-to-surviving-the-white-house-years-books.html&lt;br /&gt;
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*Twitter.https://twitter.com/kuangrf&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What is the name of the most important tilogy of books written by Liu Cixin?&lt;br /&gt;
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2. What is the most popular trilogy of books written by Liu Cixin?&lt;br /&gt;
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3. Who is called Chinese William Gibson?&lt;br /&gt;
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4. What is Rebecca Quang's Opium War plot based on?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. The Remembrance of Earth's Past&lt;br /&gt;
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2. Memory of the Earth's Past&lt;br /&gt;
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3. Chen Qiufan (陈楸帆）&lt;br /&gt;
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4. The plot is largely based on the history of China in the middle of the 20th century.&lt;br /&gt;
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==Stilts - Chen Yongxiang 陈永相 202070080582 MTI 英语笔译==&lt;br /&gt;
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
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===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===&lt;br /&gt;
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&amp;lt;center&amp;gt;Chen Yongxiang 陈永相 202070080582 MTI 英语笔译&amp;lt;/center&amp;gt;&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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Stilt is one of the folk dances of the Han nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo, 2018)&lt;br /&gt;
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As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. (Xingxing, 2019)&lt;br /&gt;
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Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing, 2019)&lt;br /&gt;
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The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing, 2019)&lt;br /&gt;
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The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing, 2019)&lt;br /&gt;
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The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing, 2019)&lt;br /&gt;
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As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing, 2019)&lt;br /&gt;
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The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with their waists. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing, 2019)&lt;br /&gt;
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There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks. (Sun Miao, 2018)&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
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Miliangtun (village name) 米粮屯&lt;br /&gt;
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stilts 高跷&lt;br /&gt;
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intangible cultural heritage 非物质文化遗产&lt;br /&gt;
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folk dance 民间舞蹈&lt;br /&gt;
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Toutou 陀头&lt;br /&gt;
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Laozuozi 老坐子 &lt;br /&gt;
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young boy 小二哥&lt;br /&gt;
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young master 公子&lt;br /&gt;
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Mr.Plaster 药先生&lt;br /&gt;
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Choupo 丑婆&lt;br /&gt;
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fisherman渔翁&lt;br /&gt;
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Yupo 渔婆 &lt;br /&gt;
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wood-cutter 柴翁&lt;br /&gt;
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handsome and ugly drum-players 俊鼓和丑鼓&lt;br /&gt;
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handsome and ugly gong-players 俊锣和丑锣&lt;br /&gt;
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====Questions====&lt;br /&gt;
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1. Where does Miliangtun Village Stilts originate?&lt;br /&gt;
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2. How many years of history does Miliangtun Village Stilts have?&lt;br /&gt;
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3. How many roles in Miliangtun Village Stilts?&lt;br /&gt;
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4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?&lt;br /&gt;
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5. How long is the shortest and the longest stilts?&lt;br /&gt;
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====Answers====&lt;br /&gt;
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1. Wangzuo Town, Fengtai District, Beijing.&lt;br /&gt;
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2. More than 250 years.&lt;br /&gt;
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3. 13.&lt;br /&gt;
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4. In 2006.&lt;br /&gt;
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5. The shortest stilt is two feet long, and the longest reaches over five feet.&lt;br /&gt;
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====References====&lt;br /&gt;
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Huo Linmo 霍淋漠. (2018). ''高碑店市河头村高跷会考察与研究'' [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebe: Hebei University 河北大学.&lt;br /&gt;
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Sun Miao 孙淼. (2018). &amp;quot;一跷多艺&amp;quot;: 胜芳高跷会的舞体表征与比较研究 [&amp;quot;Multi-skills with one stilt&amp;quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'' [Yangtze River Series] (24)18.&lt;br /&gt;
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Xingxing 邢星. (2019). 米粮屯高跷 [Miliangtun Village Stilts]. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin&lt;br /&gt;
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非物质文化遗产米粮屯高跷 [Intangible cultural heritage Miliangtun Village Stilts] (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&amp;amp;wfr=spider&amp;amp;for=pc&lt;br /&gt;
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--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 05:20, 21 December 2020 (UTC)&lt;br /&gt;
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==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 MTI英语笔译==&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)&lt;br /&gt;
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When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva who is a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.&lt;br /&gt;
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There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong province at the end of the year. Local people called it &amp;quot;Nian&amp;quot;. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)&lt;br /&gt;
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In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dance in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)&lt;br /&gt;
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===Northern lion dancing===&lt;br /&gt;
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The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people.(Yu Zhaojie 2008,76) &lt;br /&gt;
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Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)&lt;br /&gt;
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===Southern lion dancing===&lt;br /&gt;
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Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom(AD 221-263). Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different &amp;quot;Ma Bu&amp;quot; or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)&lt;br /&gt;
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Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)&lt;br /&gt;
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In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Western Regions 西域&lt;br /&gt;
&lt;br /&gt;
mount 坐骑&lt;br /&gt;
&lt;br /&gt;
Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
&lt;br /&gt;
gong 锣&lt;br /&gt;
&lt;br /&gt;
northern lion dancing 南狮&lt;br /&gt;
&lt;br /&gt;
southern lion dancing 北狮&lt;br /&gt;
&lt;br /&gt;
colorful silk ball 绣球&lt;br /&gt;
&lt;br /&gt;
wooden stakes 木桩&lt;br /&gt;
&lt;br /&gt;
spiritual resemblance神似&lt;br /&gt;
&lt;br /&gt;
Liu Bei lion 刘备狮&lt;br /&gt;
&lt;br /&gt;
Guan Gong lion 关公狮&lt;br /&gt;
&lt;br /&gt;
Zhang Fei lion 张飞狮&lt;br /&gt;
&lt;br /&gt;
sworn brothers 结义兄弟&lt;br /&gt;
&lt;br /&gt;
horse stances 马步&lt;br /&gt;
&lt;br /&gt;
Cai Qing 采青&lt;br /&gt;
&lt;br /&gt;
lettuces 生菜&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. How long is the history of lion dance in China?&lt;br /&gt;
&lt;br /&gt;
2. Why did people gradually accept lion as a sacred animal?&lt;br /&gt;
&lt;br /&gt;
3. Why did people use lion dance to celebrate the New Year?&lt;br /&gt;
&lt;br /&gt;
4. What is the main difference between southern lion dancing and northern lion dancing?&lt;br /&gt;
&lt;br /&gt;
5. What is the center of southern lion dancing?&lt;br /&gt;
&lt;br /&gt;
6. How many colors are there in the heads of southern lions? And what are they?&lt;br /&gt;
&lt;br /&gt;
7. What is “Cai Qing”? And what do you know about “Cai Qing”?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It is with a history of about 2000 years.&lt;br /&gt;
&lt;br /&gt;
2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.&lt;br /&gt;
&lt;br /&gt;
3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
&lt;br /&gt;
4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.&lt;br /&gt;
&lt;br /&gt;
5. It is in southern China’s Guangdong province.&lt;br /&gt;
&lt;br /&gt;
6. The head of southern lion has three colors, namely black, red and yellow.&lt;br /&gt;
&lt;br /&gt;
7. It means &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.&lt;br /&gt;
&lt;br /&gt;
Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.&lt;br /&gt;
&lt;br /&gt;
Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.&lt;br /&gt;
&lt;br /&gt;
Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:32, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==&lt;br /&gt;
===A. The Eight Tang-Song Prose Masters===&lt;br /&gt;
[[File:Tang Song Ba Da Jia.jpg]]&lt;br /&gt;
&lt;br /&gt;
===Brief Introduction of The Eight Tang-Song Prose Masters===&lt;br /&gt;
&lt;br /&gt;
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the Ancient Prose Movement in the Tang Dynasty, while Ouyang Xiu and &amp;quot;Three Su&amp;quot;(Su Xun, Su shi, Su Zhe) are the core figures of the Ancient Prose Movement in the Song Dynasty. Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Among the &amp;quot;Three Su&amp;quot;(Su Xun, Su shi, Su Zhe), Su Xun is their father and Su Shi is the older brother.Su Shi, together with  Wang Anshi and Zeng Gong,was the student of Ouyang Xiu. （Zhou Zhenfu 2016, 25)&lt;br /&gt;
&lt;br /&gt;
In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)&lt;br /&gt;
&lt;br /&gt;
'''1. Han Yu'''&lt;br /&gt;
[[File:Han Yu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as &amp;quot;The Decline of Eight Generations&amp;quot; by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called &amp;quot;Han Liu&amp;quot; with Liu Zongyuan, and his proses were juxtaposed with Du Fu's poems as &amp;quot;Du poem Han pen&amp;quot; by Du Mu. He enjoyed the fame as &amp;quot;The Article Giant&amp;quot; and &amp;quot;Admired Literate of One Hundred Generations&amp;quot; with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory.(Hou Benta 2014, 135)&lt;br /&gt;
&lt;br /&gt;
Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)&lt;br /&gt;
&lt;br /&gt;
'''2. Liu Zongyuan'''&lt;br /&gt;
[[File:Liu Zongyuan.jpg]]&lt;br /&gt;
&lt;br /&gt;
Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong&amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, as well as &amp;quot;Liu Liuzhou&amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.&lt;br /&gt;
&lt;br /&gt;
He was juxtaposed with Han Yu as &amp;quot;Han Liu&amp;quot;, with Liu Yuxi as &amp;quot;Liu Liu&amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu&amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives.(Zhou Zhenfu 2016, 26)&lt;br /&gt;
&lt;br /&gt;
He was a deep-thinking philosopher and great litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation.(Zhangjian 2019, 1)&lt;br /&gt;
&lt;br /&gt;
'''3. Ouyang Xiu'''&lt;br /&gt;
[[File:Ouyang Xiu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the &amp;quot;Liu Yi scholar&amp;quot;, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone. He was born in Mianzhou, now Mianyang city in Sichuan province, whose hometown is Jizhou Yongfeng, now Yongfeng county of Ji'an city in Jiangxi province.&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu's poem, Ci and prose were all the crown of that time. His poem was smooth, lyrical and euphemistic with a similar prose style, which stresses on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu's ancient prose, and pioneered the Northern Song Dynasty poetry innovation movement. As the leader of this movement, he not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation by virtue of his own unique style and high talent. He has made new achievements and pushed the creation of poetry and prose to a new height.(Hou Benta 2014, 136)&lt;br /&gt;
&lt;br /&gt;
'''4. Su Xun'''&lt;br /&gt;
[[File:Su Xun.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. At the age of 19, he married Mrs. Cheng. Later he determined to study hard at the age of 27. After a decade of hard work, he made huge progress in his academic field.&lt;br /&gt;
&lt;br /&gt;
Su Xun was a man full of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world&amp;quot;, and to &amp;quot;apply to the present&amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Owing to his great understanding of social reality, he was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot.&lt;br /&gt;
&lt;br /&gt;
'''5. Su Shi'''&lt;br /&gt;
[[File:Su Shi.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Shi, with a fame as &amp;quot;Dongpo Jushi&amp;quot;, was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
Su Shi was called &amp;quot;the first all-round talent in ancient China&amp;quot;. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area,.(Zhou Zhenfu 2016, 28)&lt;br /&gt;
&lt;br /&gt;
Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called &amp;quot;Su Men Four bachelors&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
'''6. Su Zhe'''&lt;br /&gt;
[[File:Su Zhe.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Zhe, together with his brother Su Shi, climbed jinshi branch. &lt;br /&gt;
&lt;br /&gt;
Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He performed well in politics and history. In his political works such as The New Theory and the Six States, he mostly discussed world affairs. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as his work the &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)&lt;br /&gt;
&lt;br /&gt;
'''7. Wang Anshi'''&lt;br /&gt;
[[File:Wang Anshi.jpg]]&lt;br /&gt;
&lt;br /&gt;
Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.&lt;br /&gt;
&lt;br /&gt;
Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary opinions of enlightenment of political decrees for world use.(Zhou Zhenfu 2016, 30)&lt;br /&gt;
&lt;br /&gt;
'''8. Zeng Gong'''&lt;br /&gt;
[[File:Zeng Gong.jpg]]&lt;br /&gt;
&lt;br /&gt;
Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot;, including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
&lt;br /&gt;
Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments such as the Book to Ouyang She Ren, the Book to Bachelor CAI. In those works, he argued on the treatment of disorder and expressed his deep feelings.&lt;br /&gt;
&lt;br /&gt;
'''9. Comparison between the Ancient Prose Movement and Renaissance'''&lt;br /&gt;
&lt;br /&gt;
Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the middle ancient period of their history respectively. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures.(Lu Sihong 2016, 71)&lt;br /&gt;
&lt;br /&gt;
Comparison in ideology:&lt;br /&gt;
&lt;br /&gt;
The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of  the Pre-Qin and Han Dynasties and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.&lt;br /&gt;
&lt;br /&gt;
Comparison in writing style:&lt;br /&gt;
&lt;br /&gt;
The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of in Tang and Song Dynasties studied the simple language style of the Pre-Qin and Han Dynasties, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek.(Lu Sihong 2016, 76)&lt;br /&gt;
&lt;br /&gt;
Comparison in literary form:&lt;br /&gt;
&lt;br /&gt;
The Ancient Prose Movement not only corrected the floating and rigid writing style of the Six Dynasties, but also laid a good foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: &amp;quot;Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
The Eight Tang-Song Prose Masters 唐宋八大家&lt;br /&gt;
 &lt;br /&gt;
Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》&lt;br /&gt;
&lt;br /&gt;
Ancient Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
parallel prose 骈文&lt;br /&gt;
&lt;br /&gt;
The Decline of Eight Generations 文起八代之衰&lt;br /&gt;
&lt;br /&gt;
The Article Giant 文章巨公&lt;br /&gt;
&lt;br /&gt;
Admired Literate of One Hundred Generations 百代文宗&lt;br /&gt;
&lt;br /&gt;
Han Changli Collection 《韩昌黎集》&lt;br /&gt;
&lt;br /&gt;
External collection 《外集》&lt;br /&gt;
&lt;br /&gt;
The Teacher's Theory《师说》&lt;br /&gt;
&lt;br /&gt;
Pre-Qin and Han Dynasties 先秦两汉时期&lt;br /&gt;
&lt;br /&gt;
writing in classical Chinese 文言文&lt;br /&gt;
&lt;br /&gt;
feudal provincial of Liuzhou 柳州刺史&lt;br /&gt;
&lt;br /&gt;
official supervisor of imperial censor 监察御史&lt;br /&gt;
&lt;br /&gt;
Liu He Dong Colloection 《柳河东集》&lt;br /&gt;
&lt;br /&gt;
Northern Song Dynasty 北宋&lt;br /&gt;
&lt;br /&gt;
a thousand volumes of collections of inscriptions 金石遗文一千卷&lt;br /&gt;
&lt;br /&gt;
Xia, Shang, Zhou Dynasties 三代&lt;br /&gt;
&lt;br /&gt;
the crown of that time 一时之冠&lt;br /&gt;
&lt;br /&gt;
Southern Tang Dynasty 南唐&lt;br /&gt;
&lt;br /&gt;
Yu Feng 余风&lt;br /&gt;
&lt;br /&gt;
The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》&lt;br /&gt;
&lt;br /&gt;
the Northern Song Dynasty poetry innovation movement北宋诗文革新运动&lt;br /&gt;
&lt;br /&gt;
Heng Lun 《衡论》&lt;br /&gt;
&lt;br /&gt;
Duke Jingguo 荆国公&lt;br /&gt;
 &lt;br /&gt;
The Book to the Emperor 《上皇帝书》&lt;br /&gt;
&lt;br /&gt;
Dongpo Jushi 东坡居士&lt;br /&gt;
&lt;br /&gt;
Ci writer 词人&lt;br /&gt;
&lt;br /&gt;
Unconstrained Ci School豪放派&lt;br /&gt;
&lt;br /&gt;
literary and artistic attainments 文学艺术造诣&lt;br /&gt;
&lt;br /&gt;
the first all-round talent in ancient China 中国古代第一全才&lt;br /&gt;
&lt;br /&gt;
Su Men Four bachelors 苏门四学士&lt;br /&gt;
&lt;br /&gt;
the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》&lt;br /&gt;
&lt;br /&gt;
The New Theory《新论》&lt;br /&gt;
&lt;br /&gt;
On the Six Kingdoms 《六国论》&lt;br /&gt;
&lt;br /&gt;
Ode 赋&lt;br /&gt;
&lt;br /&gt;
The Ode to Ink bamboo 《墨竹赋》&lt;br /&gt;
&lt;br /&gt;
Seven Zengs of Nanfeng 南丰七曾&lt;br /&gt;
&lt;br /&gt;
the doctrine before the text先道后文&lt;br /&gt;
&lt;br /&gt;
the Book to Ouyang She Ren 《上欧阳舍人书》&lt;br /&gt;
&lt;br /&gt;
the Book to Bachelor Cai 《上蔡学士书》&lt;br /&gt;
&lt;br /&gt;
the Six Dynasties 六朝&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
1.Who are the pioneers of the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2.Which kind of prose they advocate in the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
3.Do you know any representative work of Liu Zongyuan?&lt;br /&gt;
&lt;br /&gt;
4.Why Ouyang Xiu is called &amp;quot;Liu Yi Scholar&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
5.What’s the relationship among Su Xun, Su Shi and Su Zhe?&lt;br /&gt;
&lt;br /&gt;
6.Who are the &amp;quot;Seven Zengs of Nanfeng&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
7.Do you know any about the Renaissance?&lt;br /&gt;
&lt;br /&gt;
===D. Answers===&lt;br /&gt;
&lt;br /&gt;
1.Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2.The prose of Pre-Qin and Han Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.The &amp;quot;Liu He Dong Colloection&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone.&lt;br /&gt;
&lt;br /&gt;
5.Su Xun is the father of Su Shi and Su Zhe and Su Shi is the older brother.&lt;br /&gt;
&lt;br /&gt;
6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
&lt;br /&gt;
7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Fang Wenben 房本文.(2013).士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.&lt;br /&gt;
&lt;br /&gt;
Hou Benta 候本塔.(2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.&lt;br /&gt;
&lt;br /&gt;
He Lei 何蕾.(2017). 中唐古文运动：社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.&lt;br /&gt;
&lt;br /&gt;
Lu Sihong 芦思宏.(2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.&lt;br /&gt;
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Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.&lt;br /&gt;
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Zhangjian 张剑.(2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).&lt;br /&gt;
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Zhangjian 张剑.(2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).&lt;br /&gt;
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Zhao Kun 赵鲲.(2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.&lt;br /&gt;
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Zhou Zhenfu 周振甫.(2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:38, 21 December 2020 (UTC)&lt;br /&gt;
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==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - MTI 英语笔译==&lt;br /&gt;
===1. A Brief Introduction===&lt;br /&gt;
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[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;src=srp&amp;amp;correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;ancestor=list&amp;amp;cmsid=b749b87b72b5c9427d6560a39d41548f&amp;amp;cmras=6&amp;amp;cn=0&amp;amp;gn=0&amp;amp;kn=0&amp;amp;crn=0&amp;amp;bxn=0&amp;amp;fsn=60&amp;amp;cuben=0&amp;amp;pornn=0&amp;amp;manun=0&amp;amp;adstar=0&amp;amp;clw=247#id=22b2926be2637560e928bbc9318219fb&amp;amp;currsn=0&amp;amp;ps=58&amp;amp;pc=58]for original source.]]&lt;br /&gt;
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Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)&lt;br /&gt;
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===2.The Development of Pipa===&lt;br /&gt;
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The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)&lt;br /&gt;
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During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) &lt;br /&gt;
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During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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===3.Pipa Schools and Their Chracteristics===&lt;br /&gt;
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The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North School and the South School. Later, the North School collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)&lt;br /&gt;
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(1)The Wuxi School&lt;br /&gt;
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The Wuxi School belongs to the original North School, and is different from the South School in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi School was not as influential as the South School, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)&lt;br /&gt;
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(2)The Pinghu School&lt;br /&gt;
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The most distinctive performing techniques of the pipa are the Pinghu School's tremolo of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10)&lt;br /&gt;
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(3)The Pudong School &lt;br /&gt;
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Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)&lt;br /&gt;
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(4)The Chongming School&lt;br /&gt;
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The Chongming School also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming School pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)&lt;br /&gt;
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(5)The Shanghai School&lt;br /&gt;
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This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)&lt;br /&gt;
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===4. Traditional Pipa Music===&lt;br /&gt;
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Traditional pipa music can be divided into military songs, literary songs and military-literary songs.&lt;br /&gt;
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Military songs emphasize the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &amp;quot;Ambush on All Sides(十面埋伏)&amp;quot;, &amp;quot;Bury Me High(霸王卸甲)&amp;quot;, &amp;quot;Hai Qing Hunting the Swan(海青拿天鹅)&amp;quot;, &amp;quot;General Order in the Han Dynasty(汉将军令)&amp;quot;. &lt;br /&gt;
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Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &amp;quot;Flute and Drum at Sunset(夕阳箫鼓)&amp;quot;, &amp;quot;Zhao Jun Going Abroad(昭君出塞)&amp;quot;, &amp;quot;Autumn Moon over Han Palace(汉宫秋月)&amp;quot;, &amp;quot;The Lofty Moon(月儿高)&amp;quot;, &amp;quot;The Green Lotus(青莲乐府)&amp;quot;, &amp;quot;Whisper from Pipa(琵琶语)&amp;quot;, &amp;quot;Frontier Songs(塞上曲)&amp;quot; and so on.&lt;br /&gt;
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Military-literary song is the combination of martial song and literary song. The representative songs are &amp;quot;The Spring Snow(阳春白雪)&amp;quot;, &amp;quot;High Mountain and Flowing Water(高山流水)&amp;quot;, &amp;quot;Dragon Boat(龙船)&amp;quot;, &amp;quot;Flute and Drum at Sunset(夕阳箫鼓)&amp;quot; and so on.&lt;br /&gt;
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===References===&lt;br /&gt;
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*360百科 “琵琶”词条. (2020).[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020&lt;br /&gt;
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*Deng Sijia. 邓思佳 . (2020).中国琵琶流派问题及特征 [Schools and characteristics of Chinese pipa]. ''艺术家'' [Artist](10):56.&lt;br /&gt;
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*Zhou Xianshun, Zhang Yuying. 周显顺, 张玉莹. (2018). 浅谈琵琶演奏的发展史 [A brief analysis of the development of the playing of pipa]. ''黄河之声''[Voice of the Yellow River] (16):56.&lt;br /&gt;
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*Cheng Xuange. 成玄歌. (2020). 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例 [The relationship between literary songs and military songs and different schools of pipa -Taking Pinghu School and Pudong School as examples]. ''艺术品鉴''[Art Appreciation] (29):51-52.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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*弹拨乐器—plucked instruments&lt;br /&gt;
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*汉化—Chinesization&lt;br /&gt;
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*套曲—divertimentoes&lt;br /&gt;
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*游牧民族—nomad tribe&lt;br /&gt;
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*宫廷乐—court music&lt;br /&gt;
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*轮指法—tremolo&lt;br /&gt;
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*音色—timbre&lt;br /&gt;
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*曲目—repertoire&lt;br /&gt;
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*并弦—parallel string&lt;br /&gt;
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*指法—fingering techniques&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1、How many stages did pipa go through during its development?&lt;br /&gt;
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2、What characteristics did pipa have during Wei and Jin dynasties?&lt;br /&gt;
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3、What changes had been made to pipa during Ming and Qing dynasties?&lt;br /&gt;
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4、How many schools does pipa have and what are they?&lt;br /&gt;
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5、Can you list at least 3 representative repertoires of literary songs played by pipa? &lt;br /&gt;
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===Answers===&lt;br /&gt;
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1、Four.&lt;br /&gt;
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2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.&lt;br /&gt;
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3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. &lt;br /&gt;
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4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.   &lt;br /&gt;
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5、&amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; .&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies==&lt;br /&gt;
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=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === &lt;br /&gt;
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The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale? (Xu Zhonglin 1992, 57)&lt;br /&gt;
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[[File:fox.jpg|400px|thumb|left|Nine Tailed Fox by ARIELAkris, image from DeviantArt. Click [https://www.deviantart.com/arielakris/art/Nine-Tailed-Fox-384738575]for original source.]]&lt;br /&gt;
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'''1. Huli-jing (狐狸精) in China'''&lt;br /&gt;
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First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu. People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. At that time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor. (Kang Xiaofei 2006, 206)&lt;br /&gt;
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Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears. The theme of fatal love in the stories of werefoxes appears as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment. (Pu Song-ling 2008, 187)&lt;br /&gt;
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Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries. A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &amp;quot;Good Hunt&amp;quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people. (Ken Liu 2012, 202.)&lt;br /&gt;
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In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &amp;quot;Painted Skin (畫皮)&amp;quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox. Besides, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be. (Wikipedia 2020a)&lt;br /&gt;
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Quite a lot of information about werewolf foxes can be obtained from the TV series &amp;quot;The Legend of the Nine-Tailed Fox&amp;quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil. (Wikipedia 2020b) &lt;br /&gt;
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To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further, the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love. The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features. (Pu Songling 2008, 141)&lt;br /&gt;
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'''2. Kitsune (キツネ) in Japan''' &lt;br /&gt;
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In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&amp;quot;Fox-messenger&amp;quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons. Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky. (Bathgate 2004, 102)&lt;br /&gt;
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Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky. A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. (Bathgate 2004, 96)&lt;br /&gt;
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'''3. Kumiho (구미호) in Korea'''&lt;br /&gt;
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Kumiho - (구 &amp;quot;ku&amp;quot; - nine, 미 &amp;quot;mi&amp;quot; - tail, 호 &amp;quot;ho&amp;quot; - fox - &amp;quot;fox with nine tails&amp;quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. Kumiho can transform into a human if one of three conditions is met: she refrains from eating corpses and killing people for a thousand days; the person who recognized her as Kumiho when she is in human form will keep this secret for ten years; Kumiho will eat the liver of thousands of men over a thousand years (if this does not happen, it will disintegrate into many small bubbles); the first condition (then reduced to a hundred days) is sometimes added to the offer of help to any person who will need it. ( Johnson 1974, 37).&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Shapeshifter – 成精&lt;br /&gt;
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Creature –生物&lt;br /&gt;
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Seductive –诱人的&lt;br /&gt;
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Damnation –诅咒&lt;br /&gt;
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Metaphor –隐喻&lt;br /&gt;
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Ascribe –属性&lt;br /&gt;
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Indigenous –土着&lt;br /&gt;
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Deity – 反面人物&lt;br /&gt;
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Liver – 肝脏&lt;br /&gt;
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===References===&lt;br /&gt;
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*Bathgate, Michael 迈克尔·巴斯盖特 (2004). The Fox's Craft in Japanese Religion and Folklore: Shapeshifters, Transformations, and Duplicities. 狐狸在日本宗教和民间传说中的手工艺：变身者，转变和重复. // Routledge. -2004. - 190.&lt;br /&gt;
&lt;br /&gt;
*Johnson T. W. 约翰逊 (1974). Far Eastern Fox Lore 远东狐狸传说 // Asian Folklore Studies,  Vol. 33. No.1. 亚洲民间传说研究，第 33.第一. - 1974. - 35–68.&lt;br /&gt;
&lt;br /&gt;
*Pu Song-ling 蒲松龄. (2008). Fox charm. Monks-wizards. 狐狸的魅力. 僧侣向导. // Eastern literature 东方文学. – 2008. - 280.&lt;br /&gt;
&lt;br /&gt;
*Kang Xiaofei 康小飞. (2006). The cult of the fox: Power, gender, and popular religion in late imperial and modern China. 狐狸的崇拜：帝国晚期和近代中国//Columbia University Press 哥伦比亚大学出版社的权力，性别和大众宗教. – New York 纽约, 2006. – 269.&lt;br /&gt;
&lt;br /&gt;
*Ken Liu 刘坚. (2012). Good Hunting 狩猎愉快.// Strange Horizons 奇怪的地平线. - 2012. - 431.&lt;br /&gt;
&lt;br /&gt;
*Xu Zhonglin. 徐忠林. (1992). Creation of the Gods 上帝的创造.// Translated by Gu Zhizhong 顾志忠译. – Beijing 北京, 551. &lt;br /&gt;
&lt;br /&gt;
*Wikipedia 维基百科. (2020a). - Painted Skin (2008 film) 畫皮 (2008年電影) - https://zh.wikipedia.org/wiki/%E7%95%AB%E7%9A%AE_(2008%E5%B9%B4%E9%9B%BB%E5%BD%B1)&lt;br /&gt;
&lt;br /&gt;
*Wikipedia 维基百科. (2020b). - Legend of Nine Tails Fox 青丘狐传说 - https://en.wikipedia.org/wiki/Legend_of_Nine_Tails_Fox&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What was the attitude towards the Huli Jing in Ancient China?&lt;br /&gt;
&lt;br /&gt;
2. Can we characterize Kitsune as a positive or negative character?&lt;br /&gt;
&lt;br /&gt;
3. Could Kumiho become human forever?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.&lt;br /&gt;
&lt;br /&gt;
2. In Japanese mythology, Kitsune was not unambiguously good or bad creatures.&lt;br /&gt;
&lt;br /&gt;
3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.&lt;br /&gt;
References ..................&lt;br /&gt;
&lt;br /&gt;
==Chinese Characters - Gu Dongfang 顾东方 - 202070080635 - Interpretation 英语口译==&lt;br /&gt;
&lt;br /&gt;
===Chinese Characters===&lt;br /&gt;
&lt;br /&gt;
===Origin===&lt;br /&gt;
[[File:hanzi.jpg|200px|thumb|left|hanzi, image from Baike. Click [...] for original source.]]&lt;br /&gt;
&lt;br /&gt;
Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）&lt;br /&gt;
&lt;br /&gt;
===Evolution of Chinese characters===&lt;br /&gt;
&lt;br /&gt;
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)&lt;br /&gt;
&lt;br /&gt;
===Ancient Chinese characters===&lt;br /&gt;
&lt;br /&gt;
====Oracle bone script====&lt;br /&gt;
&lt;br /&gt;
Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).&lt;br /&gt;
&lt;br /&gt;
====Bronze script====&lt;br /&gt;
&lt;br /&gt;
In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.（ Yu Xinjia and Xue Ruijia，2005）&lt;br /&gt;
&lt;br /&gt;
====Seal script====&lt;br /&gt;
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. &lt;br /&gt;
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（ Wang Enquan 2006)&lt;br /&gt;
&lt;br /&gt;
===Modern characters===&lt;br /&gt;
====Clerical script====&lt;br /&gt;
&lt;br /&gt;
After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.&lt;br /&gt;
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.（After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.&lt;br /&gt;
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.( Wang Enquan 2006)&lt;br /&gt;
&lt;br /&gt;
====Regular script====&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. &lt;br /&gt;
===Formation of Chinese characters===&lt;br /&gt;
&lt;br /&gt;
====Pictograms====&lt;br /&gt;
&lt;br /&gt;
Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &amp;quot;sun,&amp;quot; 月 (yuè) for &amp;quot;moon,&amp;quot; and 木 (mù) for &amp;quot;tree.&amp;quot;（Nie Yan 2005)&lt;br /&gt;
&lt;br /&gt;
====Pictophonetic compounds====&lt;br /&gt;
&lt;br /&gt;
Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.（ Yu Xinjia and Xue Ruijia，2005）&lt;br /&gt;
====Ideograph ====&lt;br /&gt;
&lt;br /&gt;
Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &amp;quot;knife,&amp;quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &amp;quot;blade.&amp;quot; Other common examples are 上 (shàng) for &amp;quot;up&amp;quot; and 下 (xià) for &amp;quot;down.&amp;quot; This category is small, as most concepts can be represented by characters in other categories.（ Yu Xinjia and Xue Ruijia，2005）&lt;br /&gt;
====Logical aggregates====&lt;br /&gt;
&lt;br /&gt;
Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.  &lt;br /&gt;
====Associate transformation====&lt;br /&gt;
&lt;br /&gt;
Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &amp;quot;elderly person,&amp;quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005）&lt;br /&gt;
&lt;br /&gt;
Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin 1998)&lt;br /&gt;
&lt;br /&gt;
===Chinese Characters and the Information Age===&lt;br /&gt;
&lt;br /&gt;
Nowadays, with the continuous development of digitization, Chinese characters have been effectively imported into various electronic media. In a sense, Chinese characters in the electronic age are also facing reform, and there will be more advanced means to promote the role of Chinese characters in the electronic information age, so that they can better serve the public.&lt;br /&gt;
Chinese characters are undoubtedly China's most beautiful and valuable asset, representing not only a national spirit, but also the roots of the Chinese nation, the soul of China. As Mr. Yu Guangzhong once said, as long as the soul of Cangjie remains intact, the image, the magnet-like centripetal force, is bound to exist, and the memories and hopes of our ancestors will have a new anchor.（Yi Lixin 2004）&lt;br /&gt;
&lt;br /&gt;
===Terms and expressions===&lt;br /&gt;
&lt;br /&gt;
1.Oracle Bone Inscriptions  甲骨文&lt;br /&gt;
&lt;br /&gt;
2.Bronze Inscriptions 金文&lt;br /&gt;
&lt;br /&gt;
3.Small seal characters 小篆&lt;br /&gt;
&lt;br /&gt;
4.Official script 隶书&lt;br /&gt;
&lt;br /&gt;
5.Regular script 楷书&lt;br /&gt;
&lt;br /&gt;
6.Cursive writing 草书&lt;br /&gt;
&lt;br /&gt;
7.Cang Jie 仓颉&lt;br /&gt;
&lt;br /&gt;
8.Clerical script 楷书&lt;br /&gt;
&lt;br /&gt;
9.Su Shi 苏轼&lt;br /&gt;
&lt;br /&gt;
10. Wang Xizhi 王羲之&lt;br /&gt;
&lt;br /&gt;
11.Ou Yangxun 欧阳询&lt;br /&gt;
&lt;br /&gt;
12.Yan Zhenqing 颜真卿&lt;br /&gt;
&lt;br /&gt;
13.Pictograms 象形&lt;br /&gt;
&lt;br /&gt;
14. Pictophonetic compounds 指事&lt;br /&gt;
&lt;br /&gt;
15.Ideograph 会意&lt;br /&gt;
&lt;br /&gt;
16.Logical aggregates 形声&lt;br /&gt;
&lt;br /&gt;
17.Associate transformation 转注&lt;br /&gt;
&lt;br /&gt;
18.Borrowing 假借&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1. How many Chinese characters are there?&lt;br /&gt;
&lt;br /&gt;
2. How many letters are in the Chinese pinyin?&lt;br /&gt;
&lt;br /&gt;
3. How many formations of Chinese characters? What are they?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .&lt;br /&gt;
&lt;br /&gt;
2. There are 26 letters in Chinese alphabet.&lt;br /&gt;
&lt;br /&gt;
3. Six formations are included in Chinese characters system, and they are Pictograms&lt;br /&gt;
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1.Wang Xianchun王显春. 汉字的起源[M]. 学林出版社, 2002.&lt;br /&gt;
&lt;br /&gt;
2.Liu Youxin刘又辛. &amp;quot;关于汉字发展史的几个问题(上).&amp;quot; 语文建设 12(1998):34-37.&lt;br /&gt;
&lt;br /&gt;
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188&lt;br /&gt;
&lt;br /&gt;
4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia,  https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.&lt;br /&gt;
&lt;br /&gt;
5.Yi Lixin伊立新. 论汉字与中国文化的相互影响[J]. 沈阳建筑大学学报(社会科学版), 2004, 6(001):58-60.&lt;br /&gt;
&lt;br /&gt;
6.Wang Enquan王恩全. 中国汉字的形成及演变规律之考辨[J]. 沈阳农业大学学报(社会科学版), 2006(03):551-553.&lt;br /&gt;
7.Nie Yan聂焱. &amp;quot;论汉字造字法的思维模式.&amp;quot; 湘南学院学报 03(2005):63-67+81.&lt;br /&gt;
--[[User:Gudongfang|Gudongfang]] ([[User talk:Gudongfang|talk]]) 12:28, 21 December 2020 (UTC)Gu dongfang&lt;br /&gt;
&lt;br /&gt;
==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - MTI 英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;管钦清，202070080586.&amp;lt;/center&amp;gt;&lt;br /&gt;
===A.Chinese Knots===&lt;br /&gt;
[[File:Chinese Knots.jpg|300px|thumb|right|Click [https://baike.so.com/doc/1207058-1276830.html]for original source.]]&lt;br /&gt;
====1.A Brief Introduction about Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.（Li Ku 2016，125）&lt;br /&gt;
&lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which &lt;br /&gt;
earned the knot as its name.（Li Lifang &amp;amp; Sun Jianjun 2002,38）&lt;br /&gt;
&lt;br /&gt;
====2.The Classification of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥&lt;br /&gt;
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125）&lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. &lt;br /&gt;
&lt;br /&gt;
=====2.1.The Double Coin Knot=====&lt;br /&gt;
&lt;br /&gt;
Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &amp;quot;luck money&amp;quot;.（ Li Lifang &amp;amp; Sun Jianjun 2002，40） &lt;br /&gt;
&lt;br /&gt;
Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes &amp;quot;good things come in pairs&amp;quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc. （Li Ku 2016，126）&lt;br /&gt;
&lt;br /&gt;
=====2.2.The Good Luck Knot=====&lt;br /&gt;
&lt;br /&gt;
As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.&lt;br /&gt;
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.（Wu Hongfang 2004,120）&lt;br /&gt;
&lt;br /&gt;
=====2.3.The Pan Chang Knot=====&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the &lt;br /&gt;
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is &lt;br /&gt;
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.（Li Lifang &amp;amp; Sun Jianjun 2002，44）&lt;br /&gt;
&lt;br /&gt;
====3.The Knitting Method of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of  basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots.（Xu Xing 2004,46）&lt;br /&gt;
&lt;br /&gt;
The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.（Xu Xing 2004,47）&lt;br /&gt;
&lt;br /&gt;
====4.The Cultural Connotations of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of &lt;br /&gt;
rope and thread.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. In addition, Chinese people are descendants of &lt;br /&gt;
Dragons.（Wang Mizhu &amp;amp;Sun Sun&amp;amp; Qu Hongjian 2014,44）&lt;br /&gt;
&lt;br /&gt;
Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &lt;br /&gt;
&amp;quot;knot&amp;quot;, which means reunion and happiness. Many of the Chinese words composed of &amp;quot;结&amp;quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交&lt;br /&gt;
（making friends), and 永结同心（tie the knot),etc. &amp;quot;结&amp;quot;(knot) is also homonymous with &amp;quot;吉&amp;quot;（ausipiciousness), so people even think that &amp;quot;knot&amp;quot; is a symbol of good luck.（Wang Mizhu &amp;amp;Sun Sun&amp;amp; Qu Hongjian 2014,44）&lt;br /&gt;
&lt;br /&gt;
====5.Comparisons between Chinese Knots and Cross Necklaces====&lt;br /&gt;
&lt;br /&gt;
=====5.1.Different Cultural Connotations=====&lt;br /&gt;
&lt;br /&gt;
From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of &lt;br /&gt;
Christianity. The cross, derived from the Latin &amp;quot;crux&amp;quot;, means &amp;quot;fork&amp;quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient &lt;br /&gt;
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross &lt;br /&gt;
ornaments in the west as cross necknaces are usually used to represent love and salvation.（Wang Mizhu &amp;amp;Sun Sun&amp;amp; Qu Hongjian 2014,45）&lt;br /&gt;
&lt;br /&gt;
=====5.2.Different Shapes=====&lt;br /&gt;
&lt;br /&gt;
Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have &lt;br /&gt;
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.（Xu Xing 2004,47）&lt;br /&gt;
&lt;br /&gt;
====6.References====&lt;br /&gt;
&lt;br /&gt;
*Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. ''艺海'' Yi Hai  (08)  125-126.&lt;br /&gt;
&lt;br /&gt;
*Li Lifang &amp;amp; Sun Jianjun 李立芳，孙建君.  (2002). ''民间绳结'' [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社.&lt;br /&gt;
&lt;br /&gt;
*Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. ''丝绸'' The Silk  (02)  46-47.&lt;br /&gt;
&lt;br /&gt;
*Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. ''装饰'' Decoration  (09)  120-121.&lt;br /&gt;
&lt;br /&gt;
*Wang Mizhu &amp;amp;Sun Sun&amp;amp; Qu Hongjian王眯珠,孙荪,曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. ''丝绸'' The Silk  (11) 43-50.&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Double Coin Knot  双钱结&lt;br /&gt;
&lt;br /&gt;
Good Luck Knot 吉祥结&lt;br /&gt;
&lt;br /&gt;
Chinese Button Knot 纽扣结&lt;br /&gt;
&lt;br /&gt;
Sauvastika Knot 万字结&lt;br /&gt;
&lt;br /&gt;
Oxalis Knot 酢浆草结&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot 盘长结&lt;br /&gt;
&lt;br /&gt;
Round Brocade Knot 团锦结&lt;br /&gt;
&lt;br /&gt;
Caisson Celling Knot 藻井结&lt;br /&gt;
&lt;br /&gt;
Cross Knot 十字结&lt;br /&gt;
&lt;br /&gt;
Ping Knot 平结&lt;br /&gt;
&lt;br /&gt;
tie the knot 永结同心&lt;br /&gt;
&lt;br /&gt;
luck money 压岁钱&lt;br /&gt;
&lt;br /&gt;
the bishop's identity 主教职权&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the Chinese knot?&lt;br /&gt;
&lt;br /&gt;
2. Do you know the names of the main Chinese knots? What are they?&lt;br /&gt;
&lt;br /&gt;
3. What do &amp;quot;绳&amp;quot; and &amp;quot;结&amp;quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.&lt;br /&gt;
&lt;br /&gt;
2.There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot,Good Luck Knot,Chinese Button Kno,Sauvastika Knot,Oxalis Knot,Pan Chang Knot,Round Brocade Knot,Caisson Celling Knot,Cross Knot and Ping Knot.&lt;br /&gt;
&lt;br /&gt;
3.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &amp;quot;knot&amp;quot;, which means reunion and happiness.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 07:50, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Literature, Chinese Mythology, Guirou, Barthelemy, 201921080010, Comparative Literature and Cross-Cultural Studies==&lt;br /&gt;
&lt;br /&gt;
[[File:Chinese Mythology.jpg|thumb|right|Panku]]&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology (Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.&lt;br /&gt;
&lt;br /&gt;
===A. Panku Created the World===&lt;br /&gt;
&lt;br /&gt;
In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it became a big form of ball and finally gave birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and tried to calm down the chaos. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).&lt;br /&gt;
&lt;br /&gt;
At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku was increasing within. The size of Panku became enormous, 90,000 &amp;quot;li&amp;quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the universe. He struggled for ten thousand years until the sky and earth were completely separated into the forces of yin (dark) and yang (light). Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper...); his sweat and tear became rain; his voice became thunder and lightning and his breath became winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a beautiful landscape (Su Shuyang 2010, 4).&lt;br /&gt;
&lt;br /&gt;
===B. NuWa Created Human Beings===&lt;br /&gt;
&lt;br /&gt;
[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]&lt;br /&gt;
&lt;br /&gt;
Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).&lt;br /&gt;
&lt;br /&gt;
As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, singing, dancing, laughing and endowed with a human beings capacity. Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc. During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce themselves between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.(Su Shuyang 2010, 5, 6).&lt;br /&gt;
&lt;br /&gt;
===C. Fushi Taught the People=== &lt;br /&gt;
&lt;br /&gt;
In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization (Irene Dea Collier,2001, 33).&lt;br /&gt;
&lt;br /&gt;
Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &amp;quot;trigrams&amp;quot;,  in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers. This &amp;quot;trigrams&amp;quot; was also a mean to interpret future and consult oracle about the right ways to follow (Irene Dea Collier 2001, 35, 36).&lt;br /&gt;
&lt;br /&gt;
Finally, Fushi gave his last gift (music) in order people  can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &amp;quot;pipa&amp;quot; (lute).That is why, music has a great importance in Chinese history.  Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace (Irene Dea Collier 2001, 39).&lt;br /&gt;
&lt;br /&gt;
===D. Water War===&lt;br /&gt;
&lt;br /&gt;
Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory.  Historically, both have terrible tempers and described as a very big giants with different shapes, Gong  shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body  with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).&lt;br /&gt;
&lt;br /&gt;
Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of  the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).&lt;br /&gt;
&lt;br /&gt;
In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.&lt;br /&gt;
&lt;br /&gt;
===E. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Chinese Mythology 中国神话&lt;br /&gt;
&lt;br /&gt;
Panku 盤古&lt;br /&gt;
&lt;br /&gt;
Yin/Yang 陰陽 / 阴阳&lt;br /&gt;
&lt;br /&gt;
Nuwa 女媧&lt;br /&gt;
&lt;br /&gt;
Fushi 伏羲&lt;br /&gt;
&lt;br /&gt;
Water War 水战&lt;br /&gt;
&lt;br /&gt;
===F. Questions===&lt;br /&gt;
&lt;br /&gt;
1. Why an egg a good symbol for the beginning of the world?&lt;br /&gt;
&lt;br /&gt;
2. Why Nuwa decided to create human beings?&lt;br /&gt;
&lt;br /&gt;
3. What did Fushi taught to people?&lt;br /&gt;
&lt;br /&gt;
4. What was the cause of Gong and Zurong’s war and who won?&lt;br /&gt;
&lt;br /&gt;
===G. Answers===&lt;br /&gt;
&lt;br /&gt;
1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.&lt;br /&gt;
&lt;br /&gt;
2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.&lt;br /&gt;
 &lt;br /&gt;
3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.&lt;br /&gt;
 &lt;br /&gt;
4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
* Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group. (2010)-2-4-5-6.&lt;br /&gt;
&lt;br /&gt;
* Irene Dea Collier. (2001). &amp;quot;Chinese Mythology&amp;quot;. Library of Congress Cataloging-in-Publication Data. (2001)-33-35, 36-39-44-48-49.&lt;br /&gt;
&lt;br /&gt;
* https://pic.17qq.com/uploads/ijbphegbibz.jpeg&lt;br /&gt;
&lt;br /&gt;
* https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:52, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Chinese gods and immortals===&lt;br /&gt;
&lt;br /&gt;
====Chinese mythology system====&lt;br /&gt;
&lt;br /&gt;
Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü &amp;amp; Gong 2014, p. 71 )&lt;br /&gt;
&lt;br /&gt;
Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An &amp;amp; Turner 2005, p.4)&lt;br /&gt;
&lt;br /&gt;
The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)&lt;br /&gt;
&lt;br /&gt;
Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &amp;quot;Way&amp;quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson &amp;amp; Stuart 2002, pp. 27-28)&lt;br /&gt;
&lt;br /&gt;
At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &amp;quot;most widely beloved Buddhist Divinity&amp;quot; with miraculous powers to assist all those who pray to her.(Buddhism, p37)&lt;br /&gt;
&lt;br /&gt;
====神 shén, 帝 dì and 仙 xiān====&lt;br /&gt;
&lt;br /&gt;
Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. dì, sometimes translated as &amp;quot;thearch&amp;quot;, implies a manifested or incarnate &amp;quot;godly&amp;quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.(Hu, 2020)&lt;br /&gt;
&lt;br /&gt;
There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler &amp;amp; Jeanine 2005, pp. 200-201)&lt;br /&gt;
&lt;br /&gt;
====Eight immortals====&lt;br /&gt;
&lt;br /&gt;
The Eight Immortals are a group of legendary xian (&amp;quot;immortals&amp;quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &amp;quot;Covert Eight Immortals&amp;quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng &amp;amp; Wang 1987, pp. 40-45)&lt;br /&gt;
&lt;br /&gt;
The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng &amp;amp; Wang 1987, pp. 45-50) &lt;br /&gt;
&lt;br /&gt;
The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &amp;quot;The Eight Immortals cross the sea, each reveals its divine powers&amp;quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
immortals 仙              &lt;br /&gt;
&lt;br /&gt;
mythology 神话，神话学&lt;br /&gt;
&lt;br /&gt;
cosmology 宇宙论，宇宙观    &lt;br /&gt;
&lt;br /&gt;
monolithic 整体（式）的&lt;br /&gt;
&lt;br /&gt;
the Battle of Zhuolu 涿鹿之战&lt;br /&gt;
&lt;br /&gt;
pantheistic 泛神论的       &lt;br /&gt;
&lt;br /&gt;
polytheistic 多神论的&lt;br /&gt;
&lt;br /&gt;
Three Pure Ones 三清&lt;br /&gt;
&lt;br /&gt;
anthropomorphic 人格化的&lt;br /&gt;
&lt;br /&gt;
tutelary 守护神            &lt;br /&gt;
&lt;br /&gt;
deity 神&lt;br /&gt;
&lt;br /&gt;
Buddha 佛                 &lt;br /&gt;
&lt;br /&gt;
Shakyamuni 释迦牟尼&lt;br /&gt;
&lt;br /&gt;
Amitabha 阿弥陀佛         &lt;br /&gt;
&lt;br /&gt;
Amitāyus 无量寿佛&lt;br /&gt;
&lt;br /&gt;
celestial 天的            &lt;br /&gt;
&lt;br /&gt;
Bodhisattva 菩萨          &lt;br /&gt;
&lt;br /&gt;
Pure Land 极乐世界         &lt;br /&gt;
&lt;br /&gt;
vessels 法器&lt;br /&gt;
&lt;br /&gt;
Covert Eight Immortals 暗八仙    &lt;br /&gt;
&lt;br /&gt;
Taoist 道家的，道士&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What are the topics of the Ancient mythology?&lt;br /&gt;
&lt;br /&gt;
2. What are the differences among shén, dì and xiān?&lt;br /&gt;
&lt;br /&gt;
3. What do the Eight immortals represent respectively?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.&lt;br /&gt;
&lt;br /&gt;
2. shén and dì corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Lü, Daji; Gong, Xuezeng. (2014). ''Marxism and Religion.'' Religious Studies in Contemporary China. Brill.&lt;br /&gt;
&lt;br /&gt;
Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). ''Handbook of Chinese Mythology''. New York, NY: Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
Bai Yang. (1987). ''Chinese Huamn History''. Time Literature &amp;amp; Art Press.&lt;br /&gt;
&lt;br /&gt;
Olson, Stuart Alve. (2002). ''Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun''. Bear &amp;amp; Company.&lt;br /&gt;
&lt;br /&gt;
Buddhism, the Fulfilment of Hinduism &lt;br /&gt;
&lt;br /&gt;
Hu Yanan.(2020). ''From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty'' [D].Harbin Normal University.&lt;br /&gt;
&lt;br /&gt;
Fowler, Jeanine D. (2005). ''An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality''. Sussex Academic Press.&lt;br /&gt;
&lt;br /&gt;
Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). ''A Full Story Book of Eight Immortals''. Spring Breeze Literature &amp;amp; Are Press.&lt;br /&gt;
&lt;br /&gt;
Little, Stephen (2000). ''Taoism and the Arts of China.'' The Art Institute of Chicago.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 06:14, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Literature, Tang and Song - Guo Lu 郭露 202070080588 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Classical Prose Movement of late Tang Dynasty and Song Dynasty===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)&lt;br /&gt;
&lt;br /&gt;
====Development====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)&lt;br /&gt;
[suggestion:(Here, &amp;quot;Both&amp;quot; can be replaced by &amp;quot;They both&amp;quot;.)Both were enthusiastic to promote the movement……]&lt;br /&gt;
&lt;br /&gt;
However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)&lt;br /&gt;
&lt;br /&gt;
After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) &lt;br /&gt;
&lt;br /&gt;
====Representatives====&lt;br /&gt;
&lt;br /&gt;
'''1.Han Yu'''&lt;br /&gt;
&lt;br /&gt;
Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)&lt;br /&gt;
&lt;br /&gt;
Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)&lt;br /&gt;
&lt;br /&gt;
'''2.Liu Zongyuan'''&lt;br /&gt;
&lt;br /&gt;
Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &amp;quot;Jiangxue&amp;quot;. (Yang Shengli 2020, 42-44)&lt;br /&gt;
&lt;br /&gt;
'''3.Ouyang Xiu'''&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)&lt;br /&gt;
&lt;br /&gt;
Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)&lt;br /&gt;
&lt;br /&gt;
====Masterworks====&lt;br /&gt;
&lt;br /&gt;
Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)&lt;br /&gt;
&lt;br /&gt;
====Influence====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家&lt;br /&gt;
&lt;br /&gt;
Classical Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
''Eight Records of Excursions in Yongzhou'' 《永州八记》&lt;br /&gt;
&lt;br /&gt;
''On Teachers'' 《师说》&lt;br /&gt;
&lt;br /&gt;
''New Book of Tang'' 《新唐书》&lt;br /&gt;
&lt;br /&gt;
''Historical Records of the Five Dynasties'' 《新五代史》&lt;br /&gt;
&lt;br /&gt;
''Zuiweng Tingji'' 《醉翁亭记》&lt;br /&gt;
&lt;br /&gt;
''Shang Zhongyong'' 《伤仲永》&lt;br /&gt;
&lt;br /&gt;
''On Jia Yi'' 《贾谊论》&lt;br /&gt;
&lt;br /&gt;
''First Ode to the Red Cliff'' 《赤壁赋》&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Who were the first promoters of the Classical Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2. What does the Classical Prose Movement mean?&lt;br /&gt;
&lt;br /&gt;
3. What's political and religious purposes of the Classical Prose Movement?&lt;br /&gt;
&lt;br /&gt;
====Answers====&lt;br /&gt;
&lt;br /&gt;
1. The first promoters of this movement were Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
* Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.&lt;br /&gt;
&lt;br /&gt;
* Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.&lt;br /&gt;
&lt;br /&gt;
* Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.&lt;br /&gt;
&lt;br /&gt;
* Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.&lt;br /&gt;
&lt;br /&gt;
* Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.&lt;br /&gt;
&lt;br /&gt;
* Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.&lt;br /&gt;
&lt;br /&gt;
* Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.&lt;br /&gt;
--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 06:52, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies==&lt;br /&gt;
&lt;br /&gt;
[[File:chinese-new-year-red-pockets-design.jpg|250px|thumb|left|Red Enverlop]]&lt;br /&gt;
&lt;br /&gt;
===The Chinese Red Envelope and Lucky Money Tradition===&lt;br /&gt;
&lt;br /&gt;
In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary gift given during holidays or special occasions or festivals such as weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents gift with the red envelops for kids, which have money stuffed into. It is a traditional way to wish good luck and share blessings.&lt;br /&gt;
&lt;br /&gt;
The Lucky Money tradition began in the Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. &amp;quot;worldwide peace&amp;quot; ( 天下太平 / ''Tiān xià tài píng''), “longevity and fortune” ( 千秋万岁 / ''Qiān qiū wàn suì''), dragons and phoenixes were common.&lt;br /&gt;
&lt;br /&gt;
These coins were tied together with red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====The Legend====&lt;br /&gt;
&lt;br /&gt;
In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called ''Shou Sui'' ( 守祟 ).&lt;br /&gt;
&lt;br /&gt;
One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
&lt;br /&gt;
There are also other legends about this custom related to the son of Yang Guifei of the Tang Dynasty - China and the Qin Dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====The Tradition====&lt;br /&gt;
&lt;br /&gt;
The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means &amp;quot;suppressing ghosts money&amp;quot;. Those who receive a Red Envelope are wished another safe and pea. Sending Red Envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / ''si'') and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ ''si''). However, amounts including the number 8 ( 八 / ''ba'') will bring good luck and prosperity ( 发财 / ''fa'').&lt;br /&gt;
&lt;br /&gt;
There are rules on how to properly receive an Envelope. Traditionally, children would kneel to receive their ''Hóngbāo'' from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese Lucky Money.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''Alipay and WeChat Red Envelope'''&lt;br /&gt;
&lt;br /&gt;
[[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]]&lt;br /&gt;
&lt;br /&gt;
Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a messaging Chinese app). In recent years, it has become popular among young people to send &amp;quot;Red Envelopes&amp;quot; via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period.&lt;br /&gt;
&lt;br /&gt;
While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope.&lt;br /&gt;
&lt;br /&gt;
====Outside of China====&lt;br /&gt;
&lt;br /&gt;
The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent. Each country has different ways of Lucky Money and changes over time, but the basic custom of Lucky Money is to want to send wishes of peace to all relatives and friends in the New Year.&lt;br /&gt;
&lt;br /&gt;
[[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year: ''Lì xì'' in Vietnam]]&lt;br /&gt;
In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give Lucky Money to the children with the message of good luck, good care and good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.&lt;br /&gt;
&lt;br /&gt;
[[File:Otoshidama.jpg|200px|thumb|left|''Otoshidama'' in Japan]]&lt;br /&gt;
In Japan, Lucky Money is called ''Otoshidama'' (お 年 玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. ''Otoshidama'' Red Envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect for the recipient. The message of each ''Otoshidama'' Red Envelopes is a wish for a warm, peaceful and lucky New Year.&lt;br /&gt;
&lt;br /&gt;
[[File:Sabae.jpg|200px|thumb|right|''Sabae'' in Korea]]&lt;br /&gt;
In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems, etc.&lt;br /&gt;
&lt;br /&gt;
[[File:Green Envelope-giving.jpg|200px|thumb|left|''Green Envelope-giving'']]&lt;br /&gt;
The Lucky Money tradition has also crossed cultural and religious boundaries, and ''Green Envelope-giving'' has even become a practice during the Islamic holiday of Eid al-Fitr across Southeast Asia. It is also widely practiced by the Chinese and Southeast Asian diaspora across the world.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Lucky Money 利市/ Lì shì&lt;br /&gt;
&lt;br /&gt;
Red Envelope 红包/ Hóngbāo&lt;br /&gt;
&lt;br /&gt;
Worldwide Peace 天下太平/ Tiān xià tài píng&lt;br /&gt;
&lt;br /&gt;
Longevity and Fortune 千秋万岁/ Qiān qiū wàn suì&lt;br /&gt;
&lt;br /&gt;
Suppressing Ghosts Money/ Suppressing Sui Money 压岁钱/ Yā suì qián&lt;br /&gt;
&lt;br /&gt;
Sui 祟&lt;br /&gt;
&lt;br /&gt;
Shou Sui 守祟&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Do you know the origin of giving Lunar New Year's Lucky Money to children?&lt;br /&gt;
&lt;br /&gt;
2. Is the Lucky Money tradition exist in other countries than China?&lt;br /&gt;
&lt;br /&gt;
3. What are the rules on giving-receiving Red Envelopes?&lt;br /&gt;
&lt;br /&gt;
4. On what occasions people giving-receiving Red Envelopes?&lt;br /&gt;
&lt;br /&gt;
5. Do you ever receive a Red Envelope? On what occasion?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It began in the Han Dynasty and to protect children from being harmed.&lt;br /&gt;
&lt;br /&gt;
2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries.&lt;br /&gt;
&lt;br /&gt;
3. The giving amount of money must avoid the number 4 that sounds like the word of death in Chinese. The children, after receiving the Red Envelope, do not open it immediatedly and in the presence of the present-giver, but have to put it under the pillow after about a week to open it.&lt;br /&gt;
&lt;br /&gt;
4. Red Envelopes are most commonly associated with New Year, but they also turn up as part of many other occasions as a way of sharing good luck and blessings, like births, weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc.&lt;br /&gt;
&lt;br /&gt;
5. Yes. Red Envelope, or Lucky Money, or ''Lìxì'' is very typical in the Lunar New Year in my country Vietnam.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Red Envelope[https://en.wikipedia.org/wiki/Red_envelope]&lt;br /&gt;
&lt;br /&gt;
Fefe Ho - Red Pockets[https://chinesenewyear.net/red-pockets/]&lt;br /&gt;
&lt;br /&gt;
Cindy Tang - Red Envelopes/Packets (Hongbao) - Amount, Symbols and How to Give [https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]&lt;br /&gt;
&lt;br /&gt;
Chinese Red Envelope [https://www.travelchinaguide.com/essential/holidays/new-year/red-envelope.htm]--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Calendar, The 24 Solar Terms - He Changqi 何长琦 202070080589 MTI==&lt;br /&gt;
&lt;br /&gt;
===1. The Orgin and Development of The 24 Solar Terms===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The 24 solar terms&amp;quot; is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）&lt;br /&gt;
&lt;br /&gt;
By the late Western Zhou Dynasty, people had already measured the first four solar terms: Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete 24 Solar Terms system.（Wang Jiahua 2019）&lt;br /&gt;
&lt;br /&gt;
===2. The Definition and Classification of the 24 Solar Terms===&lt;br /&gt;
&lt;br /&gt;
“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016,34-35)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The 24 solar term&amp;quot; is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016,34-35)&lt;br /&gt;
&lt;br /&gt;
A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016,34-35)&lt;br /&gt;
&lt;br /&gt;
The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016,34-35)&lt;br /&gt;
&lt;br /&gt;
===3.Folklore of the 24 Solar Terms===&lt;br /&gt;
&lt;br /&gt;
The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the &amp;quot;whipping of the spring bull&amp;quot; at the beginning of spring and the &amp;quot;tailing festival&amp;quot; at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &amp;quot;the unity of heaven and man, in accordance with the four seasons&amp;quot;, the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. &lt;br /&gt;
&lt;br /&gt;
These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &amp;quot;biting the spring&amp;quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)&lt;br /&gt;
&lt;br /&gt;
===4.Importance and Values of the 24 Solar Terms===&lt;br /&gt;
&lt;br /&gt;
====4.1 Importance in Ancient Times====&lt;br /&gt;
&lt;br /&gt;
The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people. (Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). (Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and  an important manifestation and part of their colourful lives. (Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
For example, the &amp;quot;Four Beginnings&amp;quot;(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals. (Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
====4.2 Values in Modern Society====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. (Ding Yiming, Chang He 2020)&lt;br /&gt;
&lt;br /&gt;
It still has its practical values in modern society. Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) &lt;br /&gt;
&lt;br /&gt;
Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
the Beginning of Spring	立春&lt;br /&gt;
 	&lt;br /&gt;
Beginning of Autumn 立秋&lt;br /&gt;
&lt;br /&gt;
Rain Water 雨水 &lt;br /&gt;
&lt;br /&gt;
End of Heat 处暑&lt;br /&gt;
&lt;br /&gt;
Insects Awakening 惊蛰 	&lt;br /&gt;
&lt;br /&gt;
White Dew 白露&lt;br /&gt;
&lt;br /&gt;
Spring Equinox 春分 &lt;br /&gt;
&lt;br /&gt;
Autumnal Equinox 秋分&lt;br /&gt;
&lt;br /&gt;
Fresh Green 清明 &lt;br /&gt;
&lt;br /&gt;
Cold Dew 寒露&lt;br /&gt;
&lt;br /&gt;
Grain Rain 谷雨	&lt;br /&gt;
&lt;br /&gt;
First Frost 霜降 &lt;br /&gt;
&lt;br /&gt;
Beginning of Summer 立夏 &lt;br /&gt;
&lt;br /&gt;
Beginning of Winter 立冬&lt;br /&gt;
&lt;br /&gt;
Lesser Fullness	小满 	&lt;br /&gt;
&lt;br /&gt;
Light Snow 小雪&lt;br /&gt;
&lt;br /&gt;
Grain in Ear 芒种	&lt;br /&gt;
&lt;br /&gt;
Heavy Snow 大雪&lt;br /&gt;
&lt;br /&gt;
Summer Solstice	夏至&lt;br /&gt;
 	&lt;br /&gt;
Winter Solstice	冬至&lt;br /&gt;
&lt;br /&gt;
Lesser Heat 大暑&lt;br /&gt;
 	&lt;br /&gt;
Lesser Cold 小寒&lt;br /&gt;
&lt;br /&gt;
Greater Heat 立春 &lt;br /&gt;
	&lt;br /&gt;
Greater Cold 大寒&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.1.What are the first four solar terms measured by ancient Chinese people?&lt;br /&gt;
&lt;br /&gt;
2.Where does the 24 solar terms originate from?&lt;br /&gt;
&lt;br /&gt;
3. What are the eight solar terms that reflect seasonal changes？&lt;br /&gt;
&lt;br /&gt;
4.When was the 24 solar terms included in the World Intangible Cultural Heritage List? &lt;br /&gt;
&lt;br /&gt;
5.What are the food customs in the Beginning of Spring?&lt;br /&gt;
&lt;br /&gt;
6.Do you konw any other folklore of the 24 solar terms?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.&lt;br /&gt;
&lt;br /&gt;
2.It originated in the Yellow River valley.&lt;br /&gt;
&lt;br /&gt;
3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice&lt;br /&gt;
&lt;br /&gt;
4.In 2016.&lt;br /&gt;
&lt;br /&gt;
5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.&lt;br /&gt;
&lt;br /&gt;
6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &amp;quot;Sage of Medicine&amp;quot;, invented the &amp;quot;jiaozi&amp;quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &amp;quot;dumpling&amp;quot; or jiaozi. Today there is still a saying that goes &amp;quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Yuan Jix. 袁济喜. (2016). &amp;quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)&lt;br /&gt;
&lt;br /&gt;
Wang Jiahua. 王加华.（2019.9.20）&amp;quot;China Social Science Network&amp;quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml&lt;br /&gt;
&lt;br /&gt;
Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&amp;quot;Chinanews&amp;quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml &lt;br /&gt;
&lt;br /&gt;
He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html&lt;br /&gt;
&lt;br /&gt;
==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 MTI==&lt;br /&gt;
&lt;br /&gt;
===Collection of Yue Fu Poetry《乐府诗集》===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
'''1.Brief introduction'''&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)&lt;br /&gt;
&lt;br /&gt;
'''2.About the author'''&lt;br /&gt;
&lt;br /&gt;
Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)&lt;br /&gt;
&lt;br /&gt;
'''3.Content introduction'''&lt;br /&gt;
&lt;br /&gt;
It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &amp;quot;Yuefu Poetry Collection&amp;quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)&lt;br /&gt;
&lt;br /&gt;
====Masterpieces====&lt;br /&gt;
&lt;br /&gt;
'''1.''The Peacock Flies to Southeast'''''&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)&lt;br /&gt;
&lt;br /&gt;
'''2.''Mulan Poetry'''''&lt;br /&gt;
&lt;br /&gt;
''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)&lt;br /&gt;
&lt;br /&gt;
====Evaluation====&lt;br /&gt;
&lt;br /&gt;
'''1.Contributions'''&lt;br /&gt;
&lt;br /&gt;
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) &lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)&lt;br /&gt;
&lt;br /&gt;
'''2.Shortcomings'''&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry'']. Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poertry'']. Shanghai:Shanghai Normal University 上海师范大学 (10)105-107.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry''《乐府诗集》&lt;br /&gt;
&lt;br /&gt;
Jiaomiao songs郊庙歌辞&lt;br /&gt;
&lt;br /&gt;
Yanshe songs燕射歌辞&lt;br /&gt;
&lt;br /&gt;
Guchui drum songs鼓吹曲辞&lt;br /&gt;
&lt;br /&gt;
Hengchui songs横吹曲辞&lt;br /&gt;
&lt;br /&gt;
Xianghe songs相和歌辞&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' 《孔雀东南飞》&lt;br /&gt;
&lt;br /&gt;
''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.When was Yuefu Poetry compiled？&lt;br /&gt;
&lt;br /&gt;
2.Which institution did &amp;quot;Yuefu&amp;quot; belong to?&lt;br /&gt;
&lt;br /&gt;
3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.In Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
2.It belongs to the institution in charge of music.&lt;br /&gt;
&lt;br /&gt;
3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 10:41, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Cuisines - Eight Major Cuisines in China - Hu Jin 胡瑾 MTI 英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;胡瑾，202070080591.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Eight Major Cuisines of China===&lt;br /&gt;
&lt;br /&gt;
====1. A Brief Introduction About Chinese Cuisines====&lt;br /&gt;
&lt;br /&gt;
As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &amp;quot;four major cuisines.&amp;quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &amp;quot;eight major cuisines&amp;quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)&lt;br /&gt;
&lt;br /&gt;
====2. The Classification of Chinese Cuisines====&lt;br /&gt;
&lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
[[File:Cuisines - Eight Major Cuisines in China.jpg|300px|thumb|left|Click [https://image.so.com/view?q=%E5%B1%B1%E4%B8%9C%E8%8F%9C&amp;amp;src=tab_www&amp;amp;correct=%E5%B1%B1%E4%B8%9C%E8%8F%9C&amp;amp;ancestor=list&amp;amp;cmsid=aa3db80e177adc3de3b63a7a4a92c45b&amp;amp;cmras=6&amp;amp;cn=0&amp;amp;gn=0&amp;amp;kn=15&amp;amp;crn=0&amp;amp;bxn=15&amp;amp;fsn=90&amp;amp;cuben=0&amp;amp;pornn=0&amp;amp;manun=0&amp;amp;adstar=0&amp;amp;clw=241#id=a672aab13af3e8780511f47ae795adaf&amp;amp;currsn=0&amp;amp;ps=64&amp;amp;pc=64]for original source.]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=====2.1 Shandong Cuisine=====&lt;br /&gt;
&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)&lt;br /&gt;
&lt;br /&gt;
=====2.2 Sichuan Cuisine=====&lt;br /&gt;
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[[File:Cuisines - Eight Major Cuisines in China2.jpg|300px|thumb|left|Click [http://spro.so.com/searchthrow/api/midpage/throw?ls=s112c46189d&amp;amp;lm_extend=ctype:3&amp;amp;ctype=3&amp;amp;q=%E5%9B%9B%E5%B7%9D%E8%8F%9C&amp;amp;rurl=https%3A%2F%2Fp0.ssl.qhimgs1.com%2Ft01f2bd515563274e2e.jpg&amp;amp;img=https%3A%2F%2Fp0.ssl.qhimgs1.com%2Ft01f2bd515563274e2e.jpg&amp;amp;key=t01f2bd515563274e2e.jpg&amp;amp;s=1608554450036]for original source.]]&lt;br /&gt;
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Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)&lt;br /&gt;
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=====2.3 Guangdong Cuisine=====&lt;br /&gt;
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Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)&lt;br /&gt;
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=====2.4 Fujian Cuisine=====&lt;br /&gt;
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[[File:Cuisines - Eight Major Cuisines in China4.jpg|300px|thumb|left|Click [http://spro.so.com/searchthrow/api/midpage/throw?ls=s112c46189d&amp;amp;lm_extend=ctype:3&amp;amp;ctype=3&amp;amp;q=%E7%A6%8F%E5%BB%BA%E8%8F%9C&amp;amp;rurl=https%3A%2F%2Fwww.775jia.net%2FYinShi%2FMinCai%2F31482.shtml&amp;amp;img=https%3A%2F%2Fwww.775jia.net%2FYinShi%2FUploadFiles_9031%2F201509%2F2015091116403610.jpg&amp;amp;key=t01464ca1111688a753.jpg&amp;amp;s=1608554608736]for original source.]]&lt;br /&gt;
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Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their &amp;quot;pickled taste&amp;quot;. (Shi Hongmei 2009, 55)&lt;br /&gt;
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=====2.5 Jiangsu Cuisine=====&lt;br /&gt;
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Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)&lt;br /&gt;
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[[File:Cuisines - Eight Major Cuisines in China5.jpg|300px|thumb|right|Click [http://k.sina.com.cn/article_6439974127_17fda34ef00100da0v.html]for original source.]]&lt;br /&gt;
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=====2.6 Zhejiang Cuisine=====&lt;br /&gt;
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Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)&lt;br /&gt;
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[[File:Cuisines - Eight Major Cuisines in China6.jpg|300px|thumb|left|Click [https://p0.ssl.qhimgs1.com/sdr/400__/t01251eef817d0f7eba.jpg]for original source.]]&lt;br /&gt;
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=====2.7 Hunan Cuisine=====&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)&lt;br /&gt;
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[[File:Cuisines - Eight Major Cuisines in China7.jpg|300px|thumb|right|Click [http://img.mp.itc.cn/upload/20170602/aa062f4f21f54de594cc451c9dd40ea2_th.jpg]for original source.]]&lt;br /&gt;
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=====2.8 Anhui Cuisine=====&lt;br /&gt;
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Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)&lt;br /&gt;
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[[File:Cuisines - Eight Major Cuisines in China8.jpg|300px|thumb|left|Click [http://5b0988e595225.cdn.sohucs.com/images/20171130/fb6d5f2f2ed24b9f986a678b599347f3.jpeg]for original source.]]&lt;br /&gt;
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====3. A Comparison of Chinese-Western Diet Culture====&lt;br /&gt;
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Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)&lt;br /&gt;
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Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)&lt;br /&gt;
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However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)&lt;br /&gt;
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There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)&lt;br /&gt;
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====References====&lt;br /&gt;
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Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.&lt;br /&gt;
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Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.&lt;br /&gt;
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Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.&lt;br /&gt;
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Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．&lt;br /&gt;
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Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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pot-stewed fowl 卤味&lt;br /&gt;
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stewing and simmering 炖，煨&lt;br /&gt;
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prickly ash 花椒&lt;br /&gt;
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fermented soybean 豆鼓&lt;br /&gt;
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Braised Dongpo Pork 东坡肉&lt;br /&gt;
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Buddha Jumps over the Wall 佛跳墙&lt;br /&gt;
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Kung Pao Chicken 宫保鸡丁&lt;br /&gt;
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Bean Sauce Tofu 麻婆豆腐&lt;br /&gt;
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===Questions===&lt;br /&gt;
1. How many types of cuisines are there in china?&lt;br /&gt;
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2. What’s differences between Chinese and western diets?&lt;br /&gt;
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3. What is the origin of Dongpo Meat?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1. Eight&lt;br /&gt;
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2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a  more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. &lt;br /&gt;
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3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.&lt;br /&gt;
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==Folk Art: Chinese Paper-cutting - Jiang Fengyi 蒋凤仪 202070080636 MTI 英语口译 ==&lt;br /&gt;
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===Chinese Paper-cutting 剪纸===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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With a long history, the Chinese paper-cutting could be dated back to 2000 years ago according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and gods. Later, with the widespread paper-cutting techniques and people’s growing love, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016, 3)&lt;br /&gt;
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====History====&lt;br /&gt;
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[[File:The Earliest Paper-cutting Found in Turfan.jpg|250px|thumb|right| The Earliest Paper-cutting Found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]]&lt;br /&gt;
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The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate things, which laid a solid foundation for the art of paper-cutting. (Li &amp;amp; Zhang 2015, 7)&lt;br /&gt;
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As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Lu 2002, 8)&lt;br /&gt;
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In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, each given a special name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li &amp;amp; Zhang 2015, 7-8)&lt;br /&gt;
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By the Song Dynasty, with the prosperous economy and culture, in addition to daily decoration, paper-cutting was used in other crafts such as porcelain and blue calico.  (Li &amp;amp; Zhang 2015, 8)&lt;br /&gt;
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The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting as artworks. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li &amp;amp; Zhang 2015, 8)&lt;br /&gt;
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Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved with pottery, printing, dyeing, and other forms of art, being an indispensable part of people’s life. (Li &amp;amp; Zhang 2015, 8)&lt;br /&gt;
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====Five Regions====&lt;br /&gt;
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The distribution of Chinese folk paper-cutting, combining with the historical changes, geographical and ecological environment changes, cultural development differences, and so on, can be divided into five regions. (Wang 2006, 106)&lt;br /&gt;
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Northeast Changbai Mountains region: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang 2006, 106)&lt;br /&gt;
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Yellow river basin region: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006, 106)&lt;br /&gt;
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Yangtze River basin region: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang 2006, 106)&lt;br /&gt;
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The southeastern coastal region: It is highlighted by the paper-cutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest tends to be elegant and common appreciated. (Wang 2006, 106)&lt;br /&gt;
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Southwestern minority region: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper-cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang 2006, 107)&lt;br /&gt;
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====Categories====&lt;br /&gt;
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[[File: Dyed Paper-cutting.jpg|200px|thumb|left| Dyed Paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]]&lt;br /&gt;
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There are various ways to make paper-cutting works, including folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li &amp;amp; Zhang 2015, 8)&lt;br /&gt;
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Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. The Chinese revered red since ancient times, and whenever there are grand celebration ceremonies or festivals, red is the main color, demonstrating warmth, passion, brightness, and happiness. Besides red, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances, among which white paper-cutting is mostly used, as it could serve as the base sample for embroidery. (Li &amp;amp; Zhang 2015, 8)&lt;br /&gt;
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Dyed paper-cutting is also called dotted paper cuttings. The handicraftsman would mostly choose Xuan paper as the material, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong Provinces, among which the dotted paper cuttings in the Wei County, Hebei owns a very unique style. (Li &amp;amp; Zhang 2015, 8)&lt;br /&gt;
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====Themes====&lt;br /&gt;
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Folk paper-cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious beliefs. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women &amp;quot;drop their hoes and pick up scissors to cut papers&amp;quot;; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li &amp;amp; Zhang 2015, 8)&lt;br /&gt;
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It is the rural working women who design and create the majority of the delicate paper-cuttings. When they are five or six years old or seven or eight years old, they begin to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They devoted themselves to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li &amp;amp; Zhang 2015, 9)&lt;br /&gt;
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===References===&lt;br /&gt;
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Li Youyou &amp;amp; Zhang JIngjuan 李有有&amp;amp;张静娟. (2015) ''剪纸 [paper-cut]'' 北京: 中国旅游出版社 Beijing: China Travel &amp;amp; Tourism Press.&lt;br /&gt;
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Lu Zhongmin. (2002) ''Folk Handicrafts''. Beijing: Foreign Language Press.&lt;br /&gt;
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Wang Minbo 王敏伯. (2006) ''中国民间剪纸史 [The History of Chinese Folk Paper-cut Arts]'' 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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color-blocking paper-cutting 拼色剪纸&lt;br /&gt;
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copper-lined paper-cutting 铜衬剪纸&lt;br /&gt;
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dyed paper-cutting 点染剪纸&lt;br /&gt;
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mono-colored paper-cutting 单色剪纸&lt;br /&gt;
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smoked paper-cutting 熏样剪纸&lt;br /&gt;
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Shōsō-in 正仓院&lt;br /&gt;
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Spring Festival couplets 春联&lt;br /&gt;
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totem worship 图腾崇拜&lt;br /&gt;
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Turfan 吐鲁番&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. Where was the earliest paper-cutting found in China?&lt;br /&gt;
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2. How many regions the distribution of Paper-cutting can be divided into?&lt;br /&gt;
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3. Which two types of paper-cutting are the most common ones?&lt;br /&gt;
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4. What could be the themes of the paper-cutting?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.&lt;br /&gt;
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2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area, and Southwestern minority areas.&lt;br /&gt;
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3. Mono-colored paper-cutting and dyed paper-cutting.&lt;br /&gt;
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4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious beliefs.&lt;br /&gt;
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==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 MTI 英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;蒋淇玮, 202070080592.&amp;lt;/center&amp;gt;&lt;br /&gt;
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===The Chinese Medical Sage - Zhang Zhongjing===&lt;br /&gt;
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Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
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Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
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This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)&lt;br /&gt;
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Later, people called the doctor who sat in the drugstore to treat patients &amp;quot;the doctor sitting in the hall&amp;quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)&lt;br /&gt;
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When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
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There is a Chinese saying that goes, &amp;quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&amp;quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (Capital Medicine 2003, 40)&lt;br /&gt;
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When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (Capital Medicine 2003, 40)&lt;br /&gt;
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Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (Capital Medicine 2003, 40)&lt;br /&gt;
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Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (Capital Medicine 2003, 40)&lt;br /&gt;
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In fact, the way of making &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &amp;quot;Jiao Er&amp;quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &amp;quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&amp;quot; (Capital Medicine 2003, 40)&lt;br /&gt;
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At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
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[[File:Medicine, Zhang Zhongjing.jpeg|400px|thumb|right|Click [http://www.zjjk365.com/Ne_d_gci_6_id_37065.html]for original source.]]&lt;br /&gt;
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===References===&lt;br /&gt;
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Nie Hongyan. 聂红艳. (2003). 张仲景故乡的二十四个故事(六) 饺子的来历 [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.&lt;br /&gt;
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Tan Rongzhou. 覃荣周. (2013). 张仲景对我国医学发展的历史贡献 [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.&lt;br /&gt;
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Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下 [Zhang Zhongjing: the Name of &amp;quot;Medical Sage&amp;quot; Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.&lt;br /&gt;
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Zhang Maoyun. 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.&lt;br /&gt;
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Zhang Deli. 张德礼. (2019). 心系百姓的“医圣”张仲景 [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.&lt;br /&gt;
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Zhao Qingxin. 赵清新. (1999). 万世医宗张仲景 [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.&lt;br /&gt;
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Zhen Xueyan, Wang Limin, Liang Yongxuan. 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景 [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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medical sage 医圣&lt;br /&gt;
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''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》&lt;br /&gt;
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treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治&lt;br /&gt;
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yamen 衙门&lt;br /&gt;
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Great Cold ( 24th solar term ) 大寒&lt;br /&gt;
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Slight Cold ( 23rd solar term ) 小寒&lt;br /&gt;
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look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切&lt;br /&gt;
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Cold Dispelling Jiaoer Soup 祛寒娇耳汤&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What's the honorable title Zhang Zhongjing addressed as?&lt;br /&gt;
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2. What's the official role Zhang once taken?&lt;br /&gt;
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3. When would Zhang treat patients for free at yamen?&lt;br /&gt;
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4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?&lt;br /&gt;
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5. What's the relationship between Zhang Zhongjing and dumplings?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. Chinese Medical Sage.&lt;br /&gt;
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2. Changsha magistrate.&lt;br /&gt;
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3. He treated patients for free on the first and fifteenth days of every lunar month.&lt;br /&gt;
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4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.&lt;br /&gt;
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5. Dumplings are derived from the recipe &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot; developed by Zhang Zhongjing.&lt;br /&gt;
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--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
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		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
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&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
The idea that tones discerned in verbal art will reflect the mood of the relationship between the people and the state makes frequent appearances through Chinese literary philosophy, and it frequently enters the world of modern politics, as work on the modern Chinese folklore movement will attest (Hung).   &lt;br /&gt;
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Another more recent sample is the expression “setting the tone” [定調子]  describes the degree of condemnation in a Cultural Revolution era Big Character poster.  This modern example displays a relatively cynical view of the function of tone; the power to set tone is in the hands of the accuser, but its strength reflects the crime of the victim.In the world of literature and arts policy, “New Tone” 新基調 became the standard Chinese socialist line against precisely such works as our “provincial leader” above castigated as “pei pei pei-ing”.&lt;br /&gt;
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在言语艺术中辨别出的音调会反映出人民与国家关系的情绪，这一观点通过中国文艺哲学频繁出现，并且频繁进入现代政治的世界，关于中国现代民俗运动的工作将证明这一点。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:20, 20 December 2020 (UTC)&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
The term “tone” (particularly as diao) has acquired negative connotations over the past two of decades, at least in part because of its role in politicoliterary battles. Even editors sympathetic to “new tone” values distance themselves from the term (Yang, Zhu).  In a parallel strategy, contemporary zawen are written in covert form, more like  “East Station,” than like “Pei pei pei!”?, which so revealingly displays the mechanics of the declamatory modal trope.   In contrast to the late 1980's, contemporary zawen have in recent years receded to hide in other types of writing. This strategy is a familiar one in the context of zawen history; the necessity to hide only increases the effect the “involuntarily” discordant tone, which is held to be, biting and kicking, reflecting the truth.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
When zawen were first fashioned as a modern genre, it was the involuntary expression of responsive emotions that were explicitly invoked as zawen's purpose.  When Hu Shih published the first major newspaper column devoted to the serial publication of zawen in 1918, the “Record of Spontaneous Feeling,” the introductory essay was entitled “什麼話,” literally “What speech.” This title also provides a demonstration of a modal trope on the level of syntax.  In this original title there was no punctuation, as “shenme” already indicates the question “what” in the standard form, before European punctuation was imported as a regular feature of written vernacular Chinese.&lt;br /&gt;
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杂文首次作为一种现代文体出现时，明确是为了不自主地表达随即反应的情感、感想。1918年，胡适发表了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，&amp;quot;什么&amp;quot;已经在标准形式中表达了&amp;quot;what&amp;quot;的意思。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:30, 19 December 2020 (UTC)&lt;br /&gt;
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当杂文最开始作为一种现代文体流行起来时，其明确的目的是为了无意识地表达随即反应的情感。1918年，胡适发行了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，&amp;quot;什么&amp;quot;已经在标准形式中表达了&amp;quot;what&amp;quot;的意思。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 10:54, 20 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Chen Hui 陈惠==&lt;br /&gt;
Beyond the interrogative function, however, “hua,” [“speech” or “talk”] has the declamatory effect of objectifying speech, and holding it up for dramatic examination. For an idiomatic English translation I would offer “What!?” including both exclamation and question mark.  The contents of essay describe the purpose of zawen as a venue for explosive emotional responses, linked to the other, “regular” items printed in newspapers everyday.  This ordinary newspaper fare “gives people goose flesh [disgusts them] makes them sigh, or elicits a cold smile or an outright laugh” (Hu Shih, Shen Bao 1918). Zawen were thus launched in the early modern Chinese newspaper as the nearly physical expression of these feelings or moods in the form of literary essays. &lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
Hu Shih's formulation emphasizes zawen's role as a response to “life itself.” Like most poetry, but unlike most fiction and drama, zawen is itself a first person voice, not a representation of voices.  Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, zawen's ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can “find their seat and sit in it,” or take offence.&lt;br /&gt;
胡适在其阐述中强调说杂文这一角色是对生活本身的一种回应。像大多数的诗歌，而不是小说或戏剧那样，杂文本身就是先发者的声音，而非是各种声音的再现。但它不像诗歌那样，可能会需要想象一下大声读出来的场景，不断重复并推敲，才能充分发挥作用。杂文能够达到的理想效果只显现在报纸背面的那一瞬间，在任何人可以“在杂文里找到座位然后坐下来”或因为杂文而冒犯他人之前，伴随着读者神秘莫测的笑声、叹气声或是不屑地发出哼声，人们早就将其抛诸脑后了。&lt;br /&gt;
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胡适的表述强调了杂文对“生活本身”的回应。 像大多数诗歌一样，但与大多数小说和戏剧不同的是，杂文本身就是第一人称的声音，而不是声音的代表。 然而，与诗歌不同的是，诗歌是在大声朗读，重复和品尝中才能充分发挥作用，而杂文则是在报纸的背面短暂地出现，并伴随着诗歌的出现。 在任何人都可以“找到自己的座位并坐在座位上”或冒犯他人之前，令人迷惑不解的笑声，叹息声或打喷嚏然后迅速被扔掉。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:57, 20 December 2020 (UTC)&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
Generic categories are not the only aspect that zawen tend to mix; they characteristically contain sudden shifts in tone, style and voice, moving from a snippet of stray “overheard” conversation to an elegant, classical allusion. Echoing Hu Shih's 1918 idea of zawen as a “response” to the articles on other pages of the newspaper, the zawen, still characteristically the back page of most newspapers, nearly always contains a “foil” in the form of a direct quote from the author has read or heard.  In addition to creating a microcosmic social dialogue, this split between two voices, the writer's and that of the “foil” also allows for dizzying clashes of style and voice that enclose unlikely combinations of syntax and grammar, as well as ideas, a single text. &lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print?  In this paper I have tried to illustrate the trope of tone through the “sonorous” work, particularly that of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his zawen.  The distinct and beleaguered social and cultural space for zawen in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing.  Even more than other literary genres, zawen depends upon something within the earthy noise of moody, mulish voices to carry its messages.&lt;br /&gt;
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文章中的语调是一种讽刺性的表达手法；你如何通过印刷油墨来传达声音中所承载的一切?在本文中，我试图通过“铿锵的”作品来说明语调的隐喻，特别是邵燕祥的作品，他是一位诗人，退休后他将诗歌化为论战的杂文即他的杂文并因此闻名。在当代中国，杂文所处的独特而饱受困扰的社会和文化空间揭示了中文写作语调的体系，意识形态和意义。比其他文学体裁相比，杂文更依赖于用喜怒无常，固执己见的声音中蕴含的某种东西来传达其信息。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 10:23, 20 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
While readers love to hate their morally and politically provocative zawen-of-the-moment, writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations.  Eventually they even preserve zawen, long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves.  Lu Xun's genre of the “dagger and spear” is thus not only a sly political weapon, but also a complex sculpture of the culturally shaped self, chiseled by the cantankerous tones of contentious social dialogue.&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
'''Appendix: Translations of two primary texts: “'Pei Pei Pei!'? ” and “East Station”'''&lt;br /&gt;
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'''“Pei Pei Pei! ”?'''&lt;br /&gt;
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A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say.  He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there must not be “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place.&lt;br /&gt;
Have I gotten so insensitive?  Out of self-abrogation, and also out of curiosity, I rushed to seek it out.And so it was, what had been said was “there must not be pei pei pei -ing all over the place, it must not always be the language of mockery, sarcasm and scornful dismissal that is used to write  about the party, the nation and the people, dispersing a gray mood that makes people pessimistic and disappointed.”  It is like this all over the place, and not in just in one particular place, things are always this way, and not just at a certain time, you can see how widespread and serious the problem is.&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
A long time ago in the liberated areas, it was advocated that the entire party should publish newspapers.  After the establishment of the nation, when everything was “operated on a large scale with the entire people” I did not pay attention to whether or not it was advocated that all the people should publish the newspapers.   But getting all  people to read the newspapers is the goal of all those who follow the newspaper profession.  In that way, newspapers are not merely published for leading institutions and leaders to read, but rather at the same time (actually this should be primary) for the masses to read.  They are published for all the people -- among the people there are illiterates and partially literate, but through listening to the newspapers being read, the broadcasters and televisions have accepted the responsibility of getting the newspaper read, and this segment of the masses also figures as indirect readers of the newspapers.&lt;br /&gt;
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很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了阅读报纸的责任，这部分群众也是报纸的间接读者。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:30, 19 December 2020 (UTC)&lt;br /&gt;
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很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了朗读报纸的责任，这部分群众也是报纸的间接读者。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:40, 19 December 2020 (UTC)&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
The readers have the greatest right of criticizing the newspapers, and I wonder how many readers have discovered this phenomenon of there being “pei pei pei -ing” all over the place. &lt;br /&gt;
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I am one of these readers, subscribing on my own to several “large” newspapers (newspaper publications have not been classified as large or small, but I follow convention here) there are in addition a few newspapers that people send to me; as to “small” newspapers, I have not the leisure nor the money to buy the papers in the Beijing area, not to mention nearby Tianjin and Hebei.  Even so, just taking the 10 to 20 different newspapers I often look over, including the cultural newspapers, I have not discovered these “always using the language of mockery, sarcasm and scornful dismissal to write  about the party, the nation and the people” sorts of “pei pei pei” pieces.&lt;br /&gt;
&lt;br /&gt;
读者拥有最大的权力对报纸进行批评，我想有多少读者发现了某个地区遍地都是“呸呸呸”的现象。&lt;br /&gt;
&lt;br /&gt;
作为一名读者，我订阅了许多大型报纸（报社并没有大小之分，我只是遵循的一般传统作出的判断），此外，还有一些其他人寄的报纸。至于小型报纸，即使是北京区的报纸，我也无闲心和闲钱去购买，，更不用说天津和河北附近。即使如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 14:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
I could only hand back to my friend a blank report.  But naturally my not having seen them does not mean they do not exist. What one person can see is limited. I hope that the extra sensitive speaker on this matter can openly point them out, or even offer examples of eight or ten articles, or even hold up just three to five articles as models of this kind of work, so as to allow us to be enlightened and improve our discriminating ability in seeing which essays are those called “pei pei pei,” perhaps at the same time clearing up a related matter by analogy, that of understanding what kind of essays constitute “ba ba ba” as well.&lt;br /&gt;
&lt;br /&gt;
我只能把空白的报告交给我的朋友。 但是当然，我没有看到它们并不意味着它们不存在。 一个人只能看到有限的内容。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 13:32, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
我只能把空白的报告交给我的朋友。 但是当然，我没看到它们不等于它们不存在。 一个人能看到内容有限。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:40, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
我只能向朋友交回一份空白报告。当然，我没有见过他们并不代表他们不存在。一个人所能看到的是有限的。我希望在这个问题上特别敏感的发言者能公开指出它们，甚至举出八篇、十篇的文章示例，或者只举出三五篇作为这类作品的范本，让我们提高我们的辨别能力，为我们区分哪些文章是那些所谓的 &amp;quot;呸呸呸&amp;quot;的文章是提供启发，或许同时也能通过类比澄清相关的问题，就是让人明白构成 &amp;quot;叭叭叭&amp;quot;的文章是什么样的。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:44, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
This suggestion is sincere, not just the usual politeness.  In order for literary arts, newspaper publications and literary publications to develop better social effects and to help unite the ways of our times with the people's hearts, newspaper editors, newspaper readers, and those in charge of this occupation should all be able to directly express their own views, and upon making mistakes should help each correct and make up for them, nobody needs to be polite about this.&lt;br /&gt;
&lt;br /&gt;
这个建议很真诚，不仅仅是平时的礼貌。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效果，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该能够直接表达自己的观点，在犯错误时，他们应该相互帮助纠正和弥补错误，没有人需要对此保持礼貌。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:07, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这个建议是真诚的，而不是出于寻常的客套。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效应，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该要能直接表达观点，在犯错误时，他们应相互帮助纠正和弥补错误，不必维持客套。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:11, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这一建议是真诚的，而不是出于礼貌的客套话。为了使文艺、报刊、文学作品发挥更好的社会价值，将时代特性与人民内心相连，报社编辑和读者，以及该领域的负责人应该直截了当地表达自己的观点。在犯错误时，各方应互相帮助，纠正和弥补错误，在这一过程中无需礼貌的客套话。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:49, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这个建议很真诚，不仅仅是出于礼貌客套。为了让文学艺术，报纸刊物和文学作品发挥更好的社会效果，也为了将时代特性与群众心灵结合起来，报纸编辑，读者，以及那些该领域的负责人应该直接表达自身观点，犯错误时，彼此应该互相纠正并弥补，这时谁也没必要客套了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 06:17, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Fang Jieling 方洁玲==&lt;br /&gt;
After reading this speaker's comments, there is another matter that mystifies me.  According to what was said, “from the next (meaning this and next) two years of discipline and rectification, there will be more new challenges and problems, and literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.”  In reading all these newspapers, this is the first time I have seen  this “stabilize the peoples mind” proposition.  If there is a need to stabilize the people's hearts, it must proceed from the assumption that the peoples hearts are not stable.  As for the reason why people's minds are not stable, it comes back to the “discipline and rectification and the new challenges and problems” of these two years.&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
I am confused again.  These “challenges and problems” that so vex people, do they result from the “discipline and rectification” or is it because of these “challenges and problems” that the need arises to “discipline and rectify”?  If the more you “discipline and rectify” the more you provoke “many new challenges and problems” in people's minds, then why do all this “discipline and rectifying”?  Moreover, I do not understand what “discipline and rectification” refers to nor what the “new challenges and problems” are, and I cannot figure out what “stabilize people minds” means very precisely, nor can I see what concrete request is being made.  This is my request for instruction.&lt;br /&gt;
&lt;br /&gt;
我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。如果你“纪律和纠正”越多，脑子里的“诸多新挑战和新问题”也越多，那为什么所有人还要去“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我还特别搞不懂“稳定人们思想”到底具体指什么，我也看不到提了什么具体要求。这就是我的要求，需要得到指导。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 06:39, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。人们总是认为如果“纪律和纠正”越多，“新挑战和新问题”也就越多，那为什么所有人还要去做“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我搞不懂“稳定人们的思想”具体指什么，我也看不到任何具体要求。所以，我需要指导。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 11:47, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
The Literature Journal column “Literature and the People's Lives” has been asking for a manuscript from me many times, but I have never been able to take up the assignment.  As I write to this point, I suddenly thought that this piece should be called “Literature and the Peoples' Minds”? But that is a big topic, something that a thousand characters can not manage to capture.  1989.2.21.&lt;br /&gt;
Shao Yanxiang 1993 in 自己的酒 [My Own Wine] pages 181-183, 群眾出版社&lt;br /&gt;
&lt;br /&gt;
文学期刊《文学与人民生活》向我讨要了很多次我的手稿，但我一直没有答应。写到这里，我突然想到这一部分是不是应该叫做“文学与人民思想”？但这是一个很大的话题，一千个字都没办法讲完。（1989.2.21，邵燕祥1993年发表在群众出版社的文章“自己的酒”，181-183页）--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 01:51, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''East Station'''&lt;br /&gt;
&lt;br /&gt;
Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred to the Beijing East Station that lies to the outer east side Front City Gate.  Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.”  It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.&lt;br /&gt;
&lt;br /&gt;
'''东站'''&lt;br /&gt;
&lt;br /&gt;
在30年前的北京，如果你提到“东站”，大家都会知道你指的是建在北京前城门东边外缘的北京东站。今天，这个不起眼的带有半西式风格的，矗立在喧闹的高楼大厦之间的建筑，挂着一个小牌子，上面写道：“铁路工人俱乐部”。它俨然已是一件“过时的老物件”了，而它过去那些繁荣与光辉也不在了。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 01:51, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gong Yumian 龚钰冕==&lt;br /&gt;
This train station was once a symbol of bustling urgency, day and night swallowing and spewing out the many different hues of travelers who come to and leave the old capitol.  Outsiders that have been to Beijing may not have wandered on Fragrant Mountain or not even have visited the Imperial Museum, but none would not remember this railway station.  &lt;br /&gt;
&lt;br /&gt;
This train station, like any other place in Beijng, has experienced everything, cycles of prosperity and demise passing before its watch.  It has greeted both the voluntary and the involuntary travelers to Beijing, and also the powerful it welcomed, as well as those it did not welcome.  It sent off the happy people on their first [train] voyages, and also the broken hearted people who were departing; how many of them left this place never to come back?&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
When 20-year-old Shen Congwen arrived in Beijing after his roundabout journey from Phoenix in Hunan Province, he may have walked out of the station and stood for a while at the square in front of it.  He would have seen, because in those years there was still a space in front, first the uniformly arranged buildings, and the colorfully carved gate of Zhengyang tower.  His senses would have been struck with awe at the deep and solemn beauty.  Did he think of the way Kang (youwei) and Liang (qiqiao) were in the depths of an inescapable trap when they embarked their train to flee, in the midst of their hurry without even the time to look back upon the winged palace roofs of their beloved capitol? &lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
That year in July the canons sounded at Lugou Bridge.  When the railroad was restored between Beiping and Tianjin, the first trainload was the “four thousand refugee reds fleeing to Tianjin,” that was how the Tianjin newspaper put it.  When those travelers entered East Station, they took their first step on the road of flight; were there any among them that that could predict that long after their own “fortuitous rescue,” in 1958 there would be another group making their unseemly departure from the Beijing station, submitting their fates to the unpredictable road?&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
Recently I looked through Liu Meng's “Reminiscences on a Rainy Day” in which he writes of the rainy day April of 1958, when [he along with] a group was sent to the great northern wilderness.  The platform in the rainy day, the locomotive in the rainy day; he deliberately reminisced calmly, saying it was like this memory had also been washed clean by the rainy rain.  At that time Liu Meng had been young, but traveling along with him were many people who had fallen into this hardship in their old age, certainly each of them had their own earlier “at that time.”&lt;br /&gt;
&lt;br /&gt;
Head hanging, walking upon the rain-wet road; this is someone who has far to travel.  Every window is weeping; this is someone reminiscing in the rain.&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy.  At the time he composed a poem “How much of the people's blood was spilled for this honor.  Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.”  -- I don't know why, but this poem was not collected in any of his later collections.&lt;br /&gt;
&lt;br /&gt;
The platform of Beijing East Station, from the end of the last century to the middle of this century, has been a stage of constantly revolving action, no matter whether the security forces patrolling the edges of the stage were armed police of the North Coast Warlords, or the Japanese Army Police, or the Nationalist soldiers, police, M.P.’s or special agents, or the “People's Traffic Police.”&lt;br /&gt;
&lt;br /&gt;
而在1949年3月，当郭沫若和他的民主人士到达北京时，他们受到了隆重的欢迎仪式，他们流的是喜悦的泪水。 当时郭沫若作了一首诗：&amp;quot;为了这个荣誉，洒了多少人民的血。 想着想着，眼泪就掉下来了，幸福的笑声无法用声音来表达。&amp;quot;  --不知道为什么，这首诗在他后来的作品集里都没有收录。&lt;br /&gt;
&lt;br /&gt;
北京东站的站台，从上世纪末到本世纪中，不管在舞台边缘巡逻的保安部队是北洋军阀的武警还是日本军警，又或者是国民党的士兵、警察、宪兵或特务，还是 &amp;quot;人民交通警察&amp;quot;，它一直是一个不断变幻的舞台。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:23, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1943年3月，当郭沫若和他的民主人士到达北京时，他们收到了隆重的欢迎仪式，他们流的是喜悦的泪水。当时郭沫若作了一首诗：“为了这个荣誉，洒了多少人民的血。想着想着，眼泪就掉下来了，幸福的笑声无法用言语来表达。”--我不知道为什么，但是这首诗在他后来的作品里都没有收录。&lt;br /&gt;
&lt;br /&gt;
从上世纪末到本世纪中，北京东站的站台已然成为一个不断轮回的舞台，在那里有边界巡逻的保安部队不论是武装的北洋军阀还是日本军警，又或者是国民党的士兵、警察、宪兵或者是特务，还是“人民交通警察。”&lt;br /&gt;
&lt;br /&gt;
==Han Haiyang 韩海洋==&lt;br /&gt;
But because nearly everybody “performed” there in one way or another, at least having passed across that stage, everything about it was forgotten.  Literary works pass through it with a single stroke, only the ending of the novel “Golden Powder Dynasty” provided a scene for it.  This leftover architectural structure does not even rate a “district preservation unit” marker.  This is because there are too many ancient traces in Beijing, how could an object merely one hundred years of age be considered antique?  &lt;br /&gt;
&lt;br /&gt;
Today will also become history.  And every inch of Beijing earth will provide proof of its history.  &lt;br /&gt;
&lt;br /&gt;
1989. 9. 13 &lt;br /&gt;
&lt;br /&gt;
Please don't cut or change this date.  The new railway station began operation in 1959, and this fits in parallel with “more that thirty years ago” at the beginning of the essay.&lt;br /&gt;
&lt;br /&gt;
但是因为几乎所有人不管怎样都在那“表演过”，最起码从那个舞台上经过，于关于它的一切全部都被遗忘。文学作品在这个舞台上浮光一掠，只有小说《金粉世家》的结局算作是上演了一幕。遗留的建筑结构都没有被评为“保护区”的标志。这是因为在北京像这样的古老残留建筑有很多，才拥有一百多年历史又怎么能被算作是古老建筑呢？&lt;br /&gt;
&lt;br /&gt;
今天也依然会成为历史。北京的每一寸土地都可以为此证明。&lt;br /&gt;
&lt;br /&gt;
1989.9.13&lt;br /&gt;
&lt;br /&gt;
请不要删除或改变这个日子。 这个新的火车站于1959年开始工作，同时，也是这部散文的开始之言“三十年之前”。&lt;br /&gt;
&lt;br /&gt;
但因为几乎每个人都在那里或多或少地 &amp;quot;表演 &amp;quot;过，至少是经过了那个舞台，关于它的一切都被遗忘了。 文学作品一气呵成地经过它，只有小说《金粉王朝》的结局为它提供了一个场景。 这座遗留下来的建筑结构，连 &amp;quot;区级保护单位 &amp;quot;的标志都评不上。 这是因为北京的古迹太多，仅仅百年的物件怎么能算作古董呢？ &lt;br /&gt;
&lt;br /&gt;
今天也将成为历史。 而北京大地的每一寸土地都将为其历史提供证明。 &lt;br /&gt;
&lt;br /&gt;
1989. 9. 13 &lt;br /&gt;
&lt;br /&gt;
请不要删减或更改这个日期。 新火车站于1959年开始运营，这与文章开头的 &amp;quot;三十多年前 &amp;quot;相吻合。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:34, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
'''Nostalgia without Memory: Reading Zhang Wei’s Essays &lt;br /&gt;
In the Context of Fable of September''' &lt;br /&gt;
&lt;br /&gt;
Jie Lu&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
In this paper I will discuss what can be called agrarian nostalgia in Zhang Wei's essays collected in his Anxious and Indignant Homeward Journey, published in 1995 as a part of Resisting Compromise Book Series. I will examine his nostalgia as a critical and moral stance in the literary context of his highly claimed novel The Fable of September. In the novel, history is mythologized, essentialized, and therefore erased to embody an agrarian being associated with land. If land in Zhang's novel represents an idealized existence, then in his essays, it becomes both a social and literary metaphor to symbolize moral purity and literary elitism. It is posed as a means to achieve individual, social and literary salvation, and an absolute standard to critique social reality and popular culture in the age of commercialization.&lt;br /&gt;
&lt;br /&gt;
'''没有记忆的怀恋：阅读张炜的散文集&lt;br /&gt;
以九月寓言为背景'''&lt;br /&gt;
&lt;br /&gt;
吕杰&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
&lt;br /&gt;
在本文中，我将讨论张炜的散文中可以被称为农业乡愁的东西，这些散文收录在他的《焦急而愤懑的归途》中，该书于1995年出版，是《抗妥协书系》的一部分。我将在他备受称道的小说《九月寓言》的文学语境中，考察他作为一种批判和道德立场的乡愁。在小说中，历史被神话化、本质化，从而被抹杀，体现出一种与土地相关的农业存在。如果说土地在张的小说中代表了一种理想化的存在，那么在他的文章中，土地就成为一种社会和文学的隐喻，象征着道德的纯洁和文学的精英。它被摆在了实现个人、社会和文学救赎的手段上，也是商业化时代批判社会现实和大众文化的绝对标准。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:23, 17 December 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
Nostalgia as an indication of fundamental condition of human estrangement or alienation has been exacerbated by the speeds and scopes of modernization and globalization in contemporary China. This nostalgic sentiment is intensely experienced by intellectual elites who wish to maintain their traditional role as society's moral guardians or as society's conscience, and by literary writers who wish to sustain the distinction between pure and popular literature. It is exactly this moral absolutism and literary elitism that have been undermined by cultural and socioeconomic changes. What nostalgia in Zhang's writings reveals is not so much a resistance to modernization process as incapability of deep understanding the complexity of Chinese modernity.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
At the turn of the twenty-first century in China, with modernization and globalization gaining full momentum, it is interesting to find many writers turning their gaze backward to the past rather than singing the praises of this new global age. Among writers such as Liang Xiaosheng, Zhang Chengzhi, and Zhang Wei, nostalgia has become their dominant literary mode, through which to both critique commercialism and globalism and express the authors’ moral and literary ideals. In this paper I wish to focus on the moral and literary implications of nostalgia in Zhang Wei’s essays, as collected in his Anxious and Indignant Homeward Journey (youfen de guitu), published in 1995 as a part of the Resisting Compromise Book Series (dikang touxiang shuxi). [*	Jie Lu is an Assistant Professor of Chinese at the University of the Pacific. The author is grateful to Martin Woesler, the organizer of the conference on The Modern Chinese Literary Essays (August, 2000, Germany) where this paper was presented, and Michelle DiBello for her insightful comments and careful editing of the whole text. &lt;br /&gt;
	Resisting Compromise Book Series (Dikang touxiang shuxi) includes collections of essays by Zhang Chengzhi, Zhang Wei, Han Shaogong, Yu Qiuyu, Li Ri, and Shi Tiesheng respectively. ]&lt;br /&gt;
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在二十一世纪之交的中国，随着现代化和全球化的全面推进，许多作家将目光转向过去，而不是歌颂这个新的全球化时代，这是一个有趣的现象。在梁晓声、张承志、张炜等作家中，怀旧已成为他们的主流文学模式，通过它既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨张炜散文中怀旧的道德和文学意蕴，这是1995年出版的《反抗妥协丛书》（迪康头像书西）的一部分。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:17, 18 December 2020 (UTC)&lt;br /&gt;
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在二十一世纪之交的中国，随着现代化和全球化的全面推进，出现了一个有趣的现象，许多作家没有歌颂这个全球化的新时代，反而将目光转向过去。如梁晓声、张承志、张炜等作家，怀旧已成为他们的主流文学模式，通过这种文学模式他们既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨1995年出版的《反抗妥协丛书》（迪康头像书西）一书中的怀旧的道德和文学意蕴。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 02:54, 19 December 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
Instead of putting Zhang’s writings in the larger context of contemporary intellectual debates over radicalism (radical intellectual/cultural discourse) and (new) conservatism (anti-radical),[	Regarding the major theoretical discourses in contemporary intellectual debates in China, see Xu Ben’s “Contesting Memory for Intellectual Self-Positing: The 1990s’ New Cultural Conservatism in China” in Modern Chinese Literature and Culture, Vol.11 (Spring, 1999) 157-193; Jianhua Chen’s “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” in Journal of Asian Pacific Communication, Vol. 9 113-129; Intellectuals’ Positions (Zhishi fenzi lichang) in three volumes, edited by Li Shitao, published by Shidai wenyi chubanshe, 2000.  ] I will examine it in the literary context of his highly acclaimed novel Fable of September published in 1992. &lt;br /&gt;
Fable of September represents history in a way that mythologizes, essentializes, and therefore erases it in the name of an idealized agrarian existence. Indeed, the idea of “the land” (tudi) is a transcending and all-encompassing concept in Zhang Wei writings, representing an idealized pure state uncontaminated by industrialization and modernization. In his essays, the land is transformed into a social and literary metaphor that symbolizes moral purity and literary elitism against what the author perceives as the contemporary backdrop of general moral decadence and literary chaos. This ideal is posed as a means to achieve nothing less than social, moral and literary salvation, raised as a kind of absolute standard to critique social reality and popular culture.&lt;br /&gt;
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而不是将张的作品在当代知识争论激进主义的大背景(激进知识/文化话语)和(新)保守主义(anti-radical),(关于当代知识辩论的主要理论话语在中国,看到徐本的“争夺记忆知识Self-Positing: 1990年代在中国的新的文化保守主义”在中国现代文学和文化,Vol.11(春天,1999)157 - 193;陈建华“叙事论争的本土与全球:90年代末中国的自由主义与新左派”，载于《亚太传播》第9卷113-129;李世涛主编《知识分子的地位》三卷，《时代文艺社》2000年出版。我将从他1992年出版的广受赞誉的小说《九月寓言》的文学背景来探讨这个问题。&lt;br /&gt;
《九月寓言》以一种神话化、本质化的方式展现了历史，并因此以理想化的农业存在的名义抹去了历史。实际上，“土”在张维的著述中是一个超越的、包罗万象的概念，代表着一种理想化的、未受工业化和现代化污染的纯净状态。在他的文章中，这片土地被转化为一种社会和文学隐喻，象征着道德纯洁和文学精英主义，而不是作者所认为的普遍道德颓废和文学混乱的当代背景。这一理想被认为是实现社会、道德和文学救赎的一种手段，被提升为一种批判社会现实和大众文化的绝对标准。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 11:23, 18 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
My argument, however, is that Zhang’s reification of “land” as a transcendental metaphor in his essays only betrays the author’s lack of any profound historically informed understanding of the complexity of Chinese modernity. He simply refuses to accept social and cultural dilemmas and contradictions as permanent fixtures of the intellectual and cultural landscape. At the same time, Zhang’s outright criticism of consumerism and globalism suggests an underlying ambivalence about modernization. As China’s post-socialist social reality grows more complex and demanding, with more diversified and unstructured cultural formation, any clear-cut moral solution to social evils based on pre-modern social relationship and norms (positing the utopian vision of a transcendental realm) can no longer be effective. Nor is it sufficient to solve the sense of cultural crisis brought on by the progression of both modernization and globalization.&lt;br /&gt;
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然而，在我看来，张炜在他的散文中把“土地”具化为一个先验的隐喻，这只能暴露出作者对中国现代化的复杂程度缺乏深刻的认识。他只是拒绝接受社会和文化困境和矛盾作为知识和文化领域的永久固定装置。与此同时，张炜对消费主义和全球主义的直接批判表明了他对现代化的矛盾心理。随着中国后社会主义的社会现实变得越来越复杂和越来越严苛，文化形态也越来越多样化和无组织化，任何明确的道德解决方案，不管是基于前现代社会关系和规范(设想一个先验领域的乌托邦愿景)还是针对社会罪恶，都不再有效。也不足以解决现代化和全球化进程带来的文化危机。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:05, 18 December 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
The contemporary Chinese intellectual and cultural scene is a complex one, with major conflicting trends – one toward the commercialization of knowledge/literature and another in strong resistance to the very same. A new diversity of voices can be heard in intellectual debates at the more abstract conceptual level, and a number of Chinese writers have also joined the scene – whether consciously or unconsciously -- with their own distinct literary voices. The Resisting Compromise Book Series in fact embodies these writers’ own effort of resistance to commercialism and globalism, which they perceive as corrosive forces in their culture and society.&lt;br /&gt;
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当代中国的知识文化环境是复杂的，其主要冲突趋势有两种，一种是知识/文化的商业化，另一种是对该商业化的强烈抵制。在更抽象的概念层面的知识分子的辩论中，可以听见各种不同的新声音，许多中国作家也加入了这一环境中——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:51, 16 December 2020 (UTC)&lt;br /&gt;
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当代中国的知识文化环境是复杂的，主要的冲突趋势——一种是走向知识/文学商业化的趋势和另一种对知识/文学商业化的强烈抵制趋势。在更抽象的概念层面的知识分子辩论中，可以听到新的多元化的声音，许多中国作家也加入了这个舞台——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列丛书实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:24, 16 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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As the series’ editor-in-chief states in the preface, the work is devoted to those contemporary “literary heroes” (Xiao 1995, II), that is, certain literary idealists such as Zhang Wei, Zhang Chenzhi, Han Shaogong, Yu Qiuyu, Shi Tiesheng, and Li Rui. These literary heroes are recognized for daring to stand up and raise the banner of “literature of resistance” (Xiao 1995, II), attacking the literary degeneration and moral decay of the times.&lt;br /&gt;
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正如丛书主编在序言中所说，这部作品是专门写给那些当代 &amp;quot;文学英雄 &amp;quot;的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。他们之所以被认可，是因为他们敢于站出来，高举 &amp;quot;反抗文学 &amp;quot;的大旗（萧 1995，二），抨击当代的文学堕落和道德沦丧。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 18 December 2020 (UTC)&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
In publishing the Resisting Comprises series, its creators were responding to a growing domination of the literary arena by a so-called “Hooligan Movement.” According to the editor, literary hooliganism, as it were, is essentially a “language game” -- represented first and foremost by the irreverent writer Wang Shuo – with its various forms of “literary trash” including “literature of sexual promiscuity” (xingluan), “literature of leisure” (xianshi), “hack literature” (bangxian) and “sneezing literature” (penti) (Xiao 1995, II).&lt;br /&gt;
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在出版《反抗》系列时，它的创作者是在回应所谓的流氓运动对文学领域日益增长的统治。编者认为，文学流氓，实质上是一种 “语言游戏”——首先以不敬的作家王朔为代表——其形式多样的 “文学垃圾 ”包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧1995，二）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:19, 17 December 2020 (UTC)&lt;br /&gt;
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通过出版《反抗》系列，创作者回应了所谓的“流氓运动”对文学领域日益增长的统治。编者认为，文学流氓主义的实质是一种 “语言游戏”——首先以不敬的作家王朔为代表，他有形式多样的 “文学垃圾 ”，包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧 1995，二）。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:21, 18 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
But there are several larger social and literary issues that this project essentially addresses, namely: the loss of literary/cultural/social dominance by the intellectual elite to mass/commercial culture; the commercialization of knowledge/literature; erosion of the “humanist spirit;” abandonment of ultimate human concerns; desertion of idealism, enlightenment and such modernist projects. In the face of such upheaval, the editor describes the contemporary cultural/literary scene in China as dark and degenerate. The age is “cursed,” “tragic,” an age of “betrayal” and “surrender” (Xiao 1995, IV). And the targets of the literary/moral resistance are postmodernism, commercialism, and mass culture.&lt;br /&gt;
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但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗和堕落的。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗又堕落的时期。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:31, 18 December 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
Zhang Wei is primarily known as a novelist. His major novels include Ancient Boat, Fable of September, My Countryside, Clan, and novelle include Meditation in Autumn, Anger in Autumn, and Vineyard. [	Ancient Boat (Guchuan), Fable of September (Jiuyu yuyan), My Countryside (Wode tianyuan), Clan (Jiazu), Meditation in Autumn (Qiutian de sisuo), Anger in Autumn (Qiutian de fennu), and Vineyard (Putaoyuan) are all included in Zhang Wei wenji (Collected Writings of Zhang Wei) (Shanghai: Shanghai wenyi chubanshe, 1997).] He has also published many collections of essays.  His writings collected in Anxious and Indignant Homeward Journey include essays, talks, and interviews. These essays do not express this uncompromising stance in such a strong voice and straightforward manner. Instead, Zhang poses a literary persona of moral integrity as a kind of self-representation. He appears as an idealized individual, embodying in every way pure moral qualities of both a human being and artist/writer. This idealized individual is a fighter, fighting a lonely and heroic battle against fashionable trends and any and all forms of evil (Xiao 1995, 6).[	Anxious and Indignant Homeward Journey includes both Zhang Wei’s essays as well as critical articles by various critics. In this paper I will use Xiao Xialin, the editor of this collection as the reference to provide in-text citations to essays by both Zhang Wei and other critics.  ]&lt;br /&gt;
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张炜主要以小说家闻名。他的主要小说包括《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》。【《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》均收录于《张炜文集》(上海:上海文艺出版社，1997)。]他还出版了许多散文集。他在《焦虑和愤怒的归途》中收集的作品包括散文、谈话和采访。这些文章没有用如此强烈的声音和直白的方式表达这种不妥协的立场。相反，张提出了以一个文学人格作为一种自我表现。他表现为一个理想化的个体，在各方面都体现了一个人和艺术家或作家的纯粹道德品质。这个理想化的人是一个战士，与时尚潮流和各种邪恶势力进行着孤独而英勇的斗争(肖 1995，6)。【《焦虑和愤怒的归途》既包括张炜的散文，也包括各种评论家的评论文章。在这篇论文中，我将使用这本文集的编辑萧夏林作为参考，为张炜和其他评论家的文章提供文本内引文。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:09, 19 December 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
As a generous humanitarian, he loves and helps all good people. As a socially committed artist, he takes upon himself a great responsibility to all humanity. And as a serious writer, he self-consciously pursues high literature. He is also represented as an honest laborer, making a living through hard labor and sweat. As part of this self-representation, Zhang criticizes those who succumbed to moral and artistic degradation, such as those writers who choose to “enter the commercial world” (xiahai), or cater to popular low-brow tastes by writing “trash literature.”&lt;br /&gt;
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作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也被描绘成一个务实的劳动者，辛勤劳作、挥洒汗水维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 09:14, 17 December 2020 (UTC)&lt;br /&gt;
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作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也是务实的劳动者的代表，他辛勤劳作挥洒汗水来维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:56, 18 December 2020 (UTC)&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
He points out in his essay “Anxious and Indignant Homeward Journey” several “lacks” in many contemporary writers. First, many of today’s writers lack “self-reflexivity” (which really refers more to moral “self-reflection” or “self-consciousness” rather than intellectual self-reflexivity). They lack “conservatism,” an ability to hold to a certain kind of spirit, in which he also sees as a lack of real avant-guard spirit. They lack  “intolerance,” meaning they are overly tolerant of vices and decadent practices, and rarely engage in serious, genuine, and frank criticism and debate. Finally, they lack “stable emotions” -- the definition of which is rather ambiguous.&lt;br /&gt;
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张炜在散文《忧愤的归途》中指出了当代很多作家存在的一些“缺憾”。首先，如今的很多作家缺乏“自我反思”(实际上更多地是指道德上的“自我反思”或“自我意识”，而非理智上的自我反思)。其次他们缺乏“守旧精神”，即坚持某种精神的能力，于此张炜还看到当代作家前卫精神的缺失。他们也还不够“偏执”，过度容忍恶习和堕落的行为，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管这种情绪的定义相当模糊。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:43, 18 December 2020 (UTC)&lt;br /&gt;
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他在《焦急愤懑的回家之旅》一文中指出了许多当代作家的“不足”。首先，当今许多作家缺乏“自我反省性”（这实际上更多指的是道德上的“自我反省”或“自我意识”，而不是智力上的自我反省）。他们缺乏“保守精神”，这是一种坚持某种精神的能力；并且他认为作家缺乏真正的前卫精神。他们不能够坚持自我，这意味着他们对恶习和腐朽行径过于宽容，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管他对于稳定这一定义相当模糊。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:22, 18 December 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
Zhang’s self-representation, then, is also a form of self-legitimization. It endows him with legitimacy through a kind of literary aura and the staking out of high moral ground. From this privileged stance, he proceeds to interpret, represent, articulate, define and judge the essence, meaning and criteria of literature, society, and human life. Throughout his essays, including interviews, talks, and lectures, we find Zhang, like a self-styled guru, constantly giving advice to college students, young writers, and literature fans on what to read, how to write, and how to live. This advice is based exclusively on a clear distinction between high and popular literature, and on his unabashed criticism of mass culture (represented by television).&lt;br /&gt;
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接着，张炜的自我体现也是一种自我合法化形式，这种形式赋予他一种文学氛围和声明高尚的道德立场的合法性。从这个特权立场的立场出发，他继续诠释、再现、明确表达、定义以及评价了文学、社会和人类生活的本质、意义和标准。通过他全部的文章包括采访、会谈和讲座，我们可以发现，张炜就像一位有自我风格的专家，不断地给大学学生、年轻作家和讲座迷关于写什么、如何写以及怎样生活的问题提供建议。这些建议完全基于高雅文学和通俗文学之间鲜明的区别以及他对大众文学（以电视节目为代表）的毫不掩饰的批判。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 05:40, 20 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
In a broader sense, we can see his self-representation as an essential reaffirmation of the traditional role that Chinese intellectuals played in society. The claim to an authoritative voice is fundamental to maintaining the privileged position of the intellectual elite within a structure of knowledge and power. Zhang’s self-representation, then, is nothing less than an attempt to reestablish the intellectual elite’s role in literature and society based on a clear distinction between high and popular literature. This power struggle for cultural dominance and hegemony in the ongoing reformation of intellectual/cultural discourse largely defines China’s socio-cultural condition in the wake of socialism. &lt;br /&gt;
==Lei Kuangxi 雷旷溪==&lt;br /&gt;
Perhaps the most important part of Zhang’s essays is his use and development of the concept of “land” (tudi), which strongly conveys his self-representation as a simple yet serious “rural intellectual” (xiangcun zhishi fenzi). In his well-known essay “Immersion in the Wild Field” (rongru yiedi), the land in fact functions as a transcending metaphor. As a signifier of nature – wild fields, mountains, bushes, green crops, the ocean -- the land symbolizes all that is morally good in social and cultural realms as well as in individual’s life. The land represents a mother figure, where one can always find comfort, wisdom and inspiration. As an eternal backdrop, the land embodies eternity itself. It serves as an aesthetic standard through which the author defines the social and aesthetic functions of “pure literature,” and criticizes various aspects of cultural reality.&lt;br /&gt;
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在张炜的文章中，最重要的部分可能是他对 &amp;quot;土地 &amp;quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &amp;quot;农村知识分子 &amp;quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。作为自然的象征--野地、山川、灌木、绿色的庄稼、海洋--土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &amp;quot;纯文学 &amp;quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:22, 18 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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在张炜的文章中，最重要的部分可能是他对 &amp;quot;土地 &amp;quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &amp;quot;农村知识分子 &amp;quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。野地、山川、灌木、绿色的庄稼、海洋是自然的象征，而土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &amp;quot;纯文学 &amp;quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 19 December 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
Zhang associates popular literature and TV culture with low class and uneducated tastes, and criticizes current literary Chinese criticism for being overly influenced by foreign literary jargons. His concept of the land is even a moral criterion through which he criticizes many aspects of contemporary modern society -- from commercialization in which money is the source of all evils, to globalization marked by domination of transnational corporations and bad influence of some foreign literature, as well as modernization represented by cellular phones, cars, and high technology.&lt;br /&gt;
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张将通俗文学与电视文化这种低级的和未受过教育的品味联系在一起，并批评当前中国文学评论过度受到了外国文学术语的影响。他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:41, 16 December 2020 (UTC)&lt;br /&gt;
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张将通俗文学与低级、无文化品位的影视文化联系在一起，并批评当代中国文学批评过度受外国文学术语影响。他的领域概念甚至是一种道德标准，他运用这种道德标准批判了现当代社会的方方面面——从商金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和科技为代表的现代化。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 14:56, 16 December 2020 (UTC)&lt;br /&gt;
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张将大众文学和电视文化与低级趣味和没有文化的品味联系在一起，并批评当前中国的文学批评过于受外国文学术语的影响。他的领域观念甚至是一种道德标准，通过这种标准，他批评了现当代社会的许多方面——从以金钱为万恶之源的商业化，到以跨国公司的支配和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:21, 17 December 2020 (UTC)&lt;br /&gt;
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张将通俗文学与低级、无文化品位的影视文化联系在一起，批评当前的中国文学批评过分受外国文学术语的影响。他的领域观甚至是一种道德标准，他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:28, 20 December 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
But most of all, Zhang’s concept of land symbolizes an ideal based on ages old dichotomy between city and countryside. At the beginning of the essay, he tells us: “[The] city is a willfully and recklessly modified wild field, and I will eventually leave it” (Xiao 1995, 19). Later he claims that a real artist should be “a worshiper of land” (Xiao 1995, 60). To Zhang, the spirit of “land” should be the spirit of the age (Xiao 1995, 241). Seen in the context of his criticism of modernization, it is evident that this dichotomy is built around the moral distrust of the city – a psychological complex that traces back to Chinese agrarian tradition and Mao’s revolutionary heritage. At the same time, it reveals a profound nostalgia for a pre-modern rural existence.&lt;br /&gt;
但最重要的是，张先生对于土地的概念象征着一种古老的城乡对立的观念。在文章的开头，他告诉我们。&amp;quot;[城市]是一片被肆意改造的野地，我终将离开它&amp;quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &amp;quot;土地的崇拜者&amp;quot;（萧1995，60）。在张先生看来，&amp;quot;土地 &amp;quot;的精神应该是时代的精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是基于对城市道德不信任而建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，它也透露出对现代社会以前农村生活的深刻怀念。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:07, 16 December 2020 (UTC)Li Lili&lt;br /&gt;
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但最重要的是，张先生的土地概念象征着一种基于古老的城乡对立的理想。在文章的开头，他告诉我们。&amp;quot;[城市]是一片被肆意改造的野地，我终将离它而去&amp;quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &amp;quot;土地的崇拜者&amp;quot;（萧1995，60）。在张先生看来，&amp;quot;土地 &amp;quot;精神就是时代精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是围绕着对城市的道德不信任建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，也透露出对先前农村生活的的深刻怀念。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:57, 17 December 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
The Land, then, points to an ideal transcendent realm, closed to contamination by the modern world. But represented only in highly literary, allusive, emotive language and nature images and analogies, the idea of the Land only comes across as very abstract and unreal. The author himself asks: “What exactly is the wild field? Where does it exist? Does it really contain my innocent world I imagine?” (Xiao 1995, 30). Indeed, as an all-encompassing and pervasive metaphor, The Land is never once in his essays clearly and objectively defined. Whether expressed as a personification of the mother figure, an embodiment of eternal being, or as a constellation of various ideal qualities and values, Zhang’s “land” lacks the substantial tour-de-force as a moral and social metaphor. But if we are to discover an ontological anchoring for this concept, it can only be found, I would argue, in his well-known novel Fable of September.&lt;br /&gt;
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于是，这片土地指向了一个理想的超然境界，不受现代世界的污染。但只有在高度文学化、暗示性、情感化的语言和自然意象和类比中，土地的概念才显得非常抽象和不真实。作者自己问：“野地到底是什么？它在哪里存在？它真的包含了我想象中的纯真世界吗？”（肖1995，30）。事实上，作为一个无所不包、无所不在的隐喻，土地在他的散文中从来没有一次被清晰、客观地定义过。无论是表现为母亲形象的人格化、永恒存在的化身，还是各种理想品质和价值观的组合，张的“土地”缺乏作为道德和社会隐喻的实质性的力量。但是，如果我们要为这个概念找到一个本体论的锚定，只能在他著名的小说《九月寓言》中找到。&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
In reading this novel, I will focus on the dialectic between its strikingly postmodernist form -- which he criticizes and whose influences he constantly denies --and its pre-modern content (in terms of the primitive agrarian existence represented and the mode of storytelling used). I find nothing to criticize in Zhang’s use of magic realism and certain postmodernist techniques to recapture the so-called original world of pre-modern existence. I do find a glaring contradiction, however, in the author’s repeated denial of any positive influence of postmodernism. This, together with his unqualified valorization of “The Land” as a metonymy of a primitive utopia, only betray not so much his literary hypocrisy as his limited ability to understand modernity, postmodernism and even history itself.&lt;br /&gt;
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阅读此书时，我将重点关注后现代主义形式——虽然他一直予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的现代以前的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这是我觉得矛盾点所在。这一矛盾点，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦这一行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:41, 16 December 2020 (UTC)&lt;br /&gt;
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在读这本书的过程中，我将重点关注后现代主义的形式——虽然他一直对其予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这就是矛盾所在。这一矛盾之处，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦的行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:26, 17 December 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
In contrast to his essays, which tend to be didactic, long-winded, condescending, and full of literary clichés, Zhang’s novel ''Fable of September'' is a fascinating and imaginative piece of writing. It is best situated in the genre of fictional history -- not a fictionalized account of real historical figures and events, but a pure fiction, written in a historical mode. Other examples of this way of, say, tracing the fictional history of a person, a family, or a village, include Su Tong’s Maple Tree Village series, or Ge Fei’s fictional biography, ''Marginality.'' Given its fragmented, incoherent story and sophisticated narrative plot, it is a challenge to give the novel a concise, accurate description.&lt;br /&gt;
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与说教、长篇大论、屈尊俯就、充满文学陈词滥调的散文不同，张炜的小说《九月寓言》是一篇引人入胜、富于想象力的作品。这是一篇典型的虚构历史类型的文学作品——不是对真实历史人物和事件的虚构叙述，而是以历史的模式写成的纯粹虚构的作品。运用这种方法的其他例子，如追溯一个人、一个家庭或一个村庄的虚构历史，包括苏童的“枫杨树村”系列和格非的虚构传记小说《边缘》。考虑到小说中支离破碎、不连贯的故事和复杂的叙事情节，给这部小说一个简洁、准确的描述是一个挑战。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:08, 16 December 2020 (UTC)&lt;br /&gt;
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与他那些倾向于说教、长篇大论、屈尊俯就、陈词滥调的散文不同，《九月寓言》这部小说引人入胜。这是一篇典型的虚构历史文学作品——不对真实的历史人物和事件进行虚构叙述，而是一篇以历史的模式写成的虚构作品。这种手法同样运用于追溯某个人、某个家庭或某个村庄的虚构历史，包括苏童的“枫杨树”系列作品与格非的虚构传记小说《边缘》。由于这部小说故事叙述支离破碎、叙事情节复杂，因此简洁准确地描述它着实是一个挑战。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:58, 16 December 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
In general, the novel depicts a “historical” picture in which a small pre-modern, self-contained village is obliterated by industrialization. But what the novel really focuses on, instead of village’s fall itself, are certain memorable events and people that are part of the last 30-40 years of its existence (though the exact length of time remains questionable and unclear).  &lt;br /&gt;
The novel is divided into seven parts, each focusing on stories of a single character or family. These stories are mutually connected, and at the same time intermingled with myths, legends, anecdotes and magical or strange occurrences, which in turn map out a sort of  “history” of the village. &lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
Ironically, however, history is not quite the right term here to describe the village’s temporal contour, for what stand out as the central features in the life of the village are “land”/food (more specifically sweet potatoes), the tradition of staying with the village, and a certain mode of storytelling used in the village to recall past suffering. As quintessential indexes in the village’s existence, these features mark not a temporal movement but an eternal being. Centered on these three essentials, life in the village is hard, simple, unchanging, and close to the archetypal. The only way for the young to use up their abundant and restless energy is to run and play in the wild fields at night, and the married to beat their wives and do “cupping” (''ba huoguan'').&lt;br /&gt;
然而,具有讽刺意味的是,在描述村庄的时间轮廓时,历史并不是太正确的术语。因为突出村庄生活的主要特征是“土地” /食物（更具体地说是地瓜） 与村庄在一起，并在村庄中使用某种讲故事的方式来回忆过去的苦难。 这些特征作为村庄存在的精要指标，不是暂时的运动，而是永恒的存在。 围绕这三个要素，村庄的生活艰苦，简单，不变且与原型亲密。 年轻人要用尽他们充沛而烦躁的精力的唯一方法是晚上在野外奔跑和嬉戏，已婚夫妇殴打妻子并做“托杯”（“ ba houguan”）。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 15:42, 19 December 2020 (UTC)&lt;br /&gt;
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讽刺的是，历史并不是一个描述村庄时间轮廓的正确术语，因为村庄生活突出的中心特征是“土地”/食物（更确切地说是番薯）、留在村子里的传统想法和一种村里常用的回忆过往苦难的特殊的讲故事的方式。就像村庄得以存在的典型标志，这些特征标志的是一个永恒的存在，而不是一个暂时的运动。以这三个要素为中心，村里的生活艰苦、简单、始终如一、并接近典型的村庄生活。夜里，在野外奔跑、玩耍成了年轻人将充沛且静不下来的精力耗尽的唯一的方法，而已经结婚的人则是通过殴打他们的妻子以及拔火罐来消耗其精力。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 06:03, 20 December 2020 (UTC)&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
Thus what Zhang Wei aims to represent in this novel is a pure, simple, close-to-primitive life, uncontaminated by modern civilization. But he is also representing a sense of eternal being, long lost as it may be in our modern age.   &lt;br /&gt;
The novel is undoubtedly imaginative and fascinating. My sense of fascination as a reader, however, is derived largely from its mode of literary representation than from what is actually depicted in Zhang’s fictional world. Part reality, part myth, part legend, the story is at once mythical and real. It is a synthesis of straightforwardness and artifice, primitivism and mannerism, thematic simplicity and formal sophistication. In other words, in order to represent a pre-modern agrarian existence – Zhang’s utopian vision of pure being – he relies on quite sophisticated modernist/postmodernist literary devices. &lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
Perhaps the most striking feature of the novel, as many critics have noted, is its formal manipulation of temporality, or to be more specific, the narrative negation of temporality. It is almost impossible for the reader to discern the actual timeline of the village’s history.  Even the time span running from the 1930s to 1970s and temporal progression within the narrated world (which can only be pieced together after repeated readings), are unreliable, full of unexplainable loopholes. [	For the full discussion on the novel’s temporal scheme, see Chen Sihe’s “Huanyuan minjian: tan Zhang Wei ''Jiuyue Yuyan''”(Returning to the people: on Zhang Wei’s ''Fable of September'') collected in Youfen de guitu (Indignant Homeward Journey) 260-267.] &lt;br /&gt;
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This unusual narrative stance achieves a number of thematic effects. First, it cuts the village off from the larger movement of history. The novel mentions no political movements, significant historical events, or chronology of dates other than “September.”&lt;br /&gt;
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正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对按时间叙事的否定。读者几乎不可能分辨出该村历史的实际时间表。即使是从三十年代到七十年代的时间跨度，以及叙述世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间安排的完整讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]&lt;br /&gt;
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这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对时间性的叙事否定。读者几乎无法了解到该村历史发展的实际进程。即使是从二十世纪三十年代到七十年代的时间跨度，以及所叙述的世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间线索布局的详尽讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]&lt;br /&gt;
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这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 01:19, 20 December 2020 (UTC)&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
The only other temporal indicators are rainy seasons, or periods of winter when the snow is as sharp as strong acid, or autumn when the field is abundant with sweet potatoes and beans. These seasonal markers indicate changes more in nature than in the human world where chronological dates mark time. These markers of nature serve to draw the story further away from a real historical framework and closer to the pre-modern agrarian mode of existence, as if human life was “timed” by nature itself. Furthermore, this kind of temporal negation also foregrounds eternity in the land itself. Wherever any historical hint or political implication may crop up in the story, it is immediately dissolved into one of many village legends.&lt;br /&gt;
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唯一的时间指标是雨季，抑或是冬季鹅毛大雪，或者是秋季田野里盛产红薯和豆子的时期。这些季节性标志比人类世界中的时间标志，比如年、月、日，更能在本质上表明变化。这些自然界的标志物的作用是使故事进一步远离真实的历史框架，而更接近于前现代的农业生存模式，仿佛人类的生活是由自然本身&amp;quot;定时&amp;quot;的。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即被消解为众多乡村传说中的一种。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:11, 18 December 2020 (UTC)&lt;br /&gt;
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唯一的时间指标是雨季，或是下起鹅毛大雪的冬季，或田野里红薯和豆子丰收的秋季。这些季节性标志比人类世界中的时间顺序标志，更能在本质上表明变化。这些自然界的标志物使故事进一步远离真实的历史框架，而更加接近前现代的农业生存模式，仿佛人类的生活由自然本身“定时”。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即隐入为众多乡村传说中的一种。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:54, 19 December 2020 (UTC)&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
For instance, “recalling past suffering” (yiku), an important collective activity of the village, is transformed from a political discourse used during the Cultural Revolution into a form of storytelling for binding the village community together, and for producing oral history and creating legends. In essence, history is  erased from the village’s background all together. &lt;br /&gt;
The novel’s detachment from historical background also means a metaphysical negation of historical paradigm of interpretation and signification, characterized by such notions as causality, progress and teleology. This allows the author to have a larger space for interaction of diverse configurations. As critic Chen Sihe points out, Zhang’s village exists in three forms: in reality, in legend/myth, and in oral storytelling (Xiao 1995, 265).&lt;br /&gt;
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如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变为凝聚村落社群、口述历史、创造传说的叙事形式。从本质上说，历史被从村庄的背景中抹去了。&lt;br /&gt;
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小说脱离历史背景也意味着形而上学地否定解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄存在三种形式:现实中的，传说/神话中的，口头讲故事的(Xiao 1995,265)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:41, 16 December 2020 (UTC)&lt;br /&gt;
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如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变成为了凝聚村落社群、口述历史、创造传说的叙事形式。本质上，人们将历史完全从村庄的背景中抹去了。&lt;br /&gt;
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小说脱离历史背景也意味着形而上学地否定了解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄以三种形式存在着:现实中的，传说和神话中的，口头故事中的(Xiao 1995,265)。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:21, 17 December 2020 (UTC)&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
However, the absence of a clear-cut time framework only blurs and transgresses the ontological boundaries among reality, myths, legends, the magic and storytelling. The novel abounds with magical, mythical, and supernatural figures and events: Niugan’s body was air-dried for a period of time before his actual death.  A man named Jinyou can squeeze milk from his breasts. Another man’s eyeball jumps out and changes into a frog, disappearing into grass. The mother of Longran does not die after drinking pesticide; instead, her hairs have become darker, and skin softer. Very much like in Gabriel Garcia Marquez’s ''One Hundred Years of Solitude'', these magical events are presented in a realistic mode on the same ontological level as other “real” events.&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
In other words, the magic is approached through the everyday. And the transgression of ontological levels of representation thus further negates historical temporality.  &lt;br /&gt;
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The absence of historical time in the novel also negates historical interpretation. Instead, myths and legends assume the function of historical explanation. The origin of the small village is explained in a myth about a group of vagrants who, exhausted after a long journey, stopped, and settled on a piece of land that could provide them with food. The story of the monkey spirit with the ability to carry things becomes a mythic explanation of social stratification and exploitation, a further departure from historical and positive discourses.&lt;br /&gt;
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换句话说，魔法是每天都有的。 因此,本体论表示形式进一步否定了历史的时间性。&lt;br /&gt;
小说中缺少的历史时间也否定了历史解释。相反，神话和传说承担着历史解释的功能。神话中解释了这个小村庄的起源，这个神话是关于一群流浪者的，这些流浪者经过漫长的旅程已经精疲力尽了，他们停下来，然后定居在一块可以为他们提供食物的土地上。具有承载能力的猴子精神的故事成为对社会分层和剥削的神话解释，这进一步背离了历史语境。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 10:37, 20 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
These myths and legends are presented as part of the village’s everyday reality. Thus different ontological levels within the text – reality and myth/legend/oral storytelling/magical events -- in which the village exists collapse into one. It is a world in which past and present become all-at-once. In other words, the past is the present, the myth is reality, and vice versa. The timeless place is like a sentence without tense. And herein lies the author’s profound sense of nostalgia for a fundamental, archetypal existence in its complete nakedness, beyond modern historical and rational configurations. &lt;br /&gt;
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As Nan Fan points out, though the temporal span of the novel is not long, its content is massive, filled as it is with various stories (Xiao 1995, 253).&lt;br /&gt;
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这些神话和传说是作为村庄日常现实的一部分呈现的。因此，文本中不同的本体论层面—现实和神话/传说/口头故事/神奇事件—村庄存在于其中，合二为一。这是一个过去和现在都成为一体的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。而作者对一种完全赤裸裸的、超越现代历史和理性配置的根本性、原型性存在的深刻怀念感就在于此。&lt;br /&gt;
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正如南帆所指出的，虽然小说的时间跨度不长，但其内容却是庞大的，充满了各种故事（萧1995，253）。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:37, 16 December 2020 (UTC)&lt;br /&gt;
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这些神话和传说作为村庄日常现实的一部分呈现出来。因此，文本中不同的本体论层次——现实和神话/传说/口头讲故事/魔法事件——村落的存在瓦解为一个整体。这是一个过去和现在同时成为一切的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。在这里，作者对一种基本的、原型的、完全赤裸的、超越现代历史和理性结构的存在有着深刻的怀旧之情。&lt;br /&gt;
南帆指出，小说的时间跨度虽然不长，但内容却很宏大，充满了各种各样的故事(肖1995,253)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:43, 16 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
If the macro-structure of the novel is characterized by narrative strategies of postmodernist fragmentation and transgression, then at the micro-structure of individual stories the pre-modern form of Benjaminian storytelling becomes the dominant mode of narrative. “Recalling past suffering” is in fact in the typical mode of storytelling. The narrative tells us that in those long and cold winter nights when rain turned into snow, when there were nothing else to do for the rural folks, all villagers of the Small Village would gather together to listen to Jinxiang, one of the principal storytellers in the village, to recall past suffering. Here Jinxiang functions in the role that Water Benjamin describes: the giver of stories, of counsel, the link to a mythic but necessary past.&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
Through storytelling, the storyteller’s personal experiences mixed with the mythic and magic become the collective experiences of the village, binding the village together, and providing it not only with a sense of community but also a sense of identity. Interestingly, the villagers prefer only the storytellers in their own village to tell of past. Thus, in relating his own experience and that reported by others, the storyteller in turns makes it the experience of those who are listening to his tale (Benjamin 1968, 87). In a way, Jinxiang perfectly embodies Benjaminian storyteller as the one who, in his storytelling, also gives counsels to the listeners -- the young in this context -- to value the happiness of the present and therefore stay with the tradition.&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
Jinxiang’s story telling demonstrates the power of the oral, in that his performance has potential for moving beyond rational control. He tells stories spontaneously and with great emotion, often with tears and slobbers and shouts at each stop. His dynamic orality controls the whole atmosphere of the meeting and carries the listeners to multiple emotional climaxes. Thus in the highly emotionally charged atmosphere of telling and listening marked by crying and shouting, the teller and listeners identify completely with one another. As a storyteller “in his living immediacy” (Benjamin 1968, 83), Jinxiang is thus an integrate part of the pre-modern rural existence based on its closely-knit community, the shareable experiences, and a fund of stories and lore.&lt;br /&gt;
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金祥的讲故事展现了口述的力量，他的表演具有超越理性控制的潜力。他讲故事时自然而然，感情充沛，每到一站，往往泪流满面，口水直流，大呼小叫。他的动态口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &amp;quot;活生生的即时性 &amp;quot;的讲故事的人（Benjamin 1968, 83），金乡是前现代农村生活的一个组成部分，其基础是其紧密联系的社区、可分享的经验以及故事和传说的基金。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
金祥的故事讲述展现了口述的力量，他的表演具有超越理性控制的潜力。他很自然地讲述故事，感情充沛，一停下来，往往泪流满面，口水直流，大呼小叫。他那充满活力的口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &amp;quot;活生生的即时性 &amp;quot;的讲故事的人（Benjamin 1968, 83），金乡是现代以前农村生活的一个组成部分，以前的农村整个乡村紧密联系、人们互相交流经历，还流传着大量的传说和故事。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:24, 16 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
And this pre-modern rural existence can only be narrated and made sense of through the mode of storytelling, for the specific sense of historicity and experience of reality as mixed with myth, legend, the magical transgress normal parameters of our modern and rational paradigm of representation.  &lt;br /&gt;
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Thus the synthesis of the pre-modern, marked by both its existence and the mode of storytelling, and postmodernist mannerism with its sophisticated narrative strategies also points to an irony, in that this natural, pre-modern world can only be re-presented in very stylized devices. Here Zhang Wei encounters a similar paradox as the famous Taoist icon, Zhuang Zi. In spite of his distrust of language, Zhuang Zi could only envision the ineffable Way through language.&lt;br /&gt;
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而这种前现代的乡村只有通过故事的方式才能被叙述和理解，因为与神话、传说、魔幻混杂在一起的特定的历史感和现实体验，超过了我们现代和理性表述模式的正常感受。 &lt;br /&gt;
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因此，前现代的存在和故事模式，以这两者为标志的前现代与后现代主义方式主义以其复杂的叙事策略综合，也偏向了讽刺，即这个自然的、前现代的世界只能用非常风格化的手段来重新呈现。在这里，张炜遇到了与著名道教代表人物庄子类似的悖论。庄子尽管怀疑语言，但他只能通过语言来设想不可言说的道。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:06, 18 December 2020 (UTC)&lt;br /&gt;
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这种前现代的乡村生活只有通过讲故事的方式来进行叙述，因为与神话、传说、还有魔幻的事物混杂在一起的历史感和现实体验超越了我们现代化和理性表达模式下的正常感受。&lt;br /&gt;
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因此，前现代主义以生活和讲述模式为特点，后现代主义方式拥有复杂叙事策略，这两者的结合也指向了讽刺，而只有通过讽刺才能通过风格化的手段重新呈现这个自然的前现代世界。这里张玮遇到了与著名道教代表人物庄子类似的悖论。尽管庄子怀疑语言，但是他也只能通过语言来想象一些又不能言表的道。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:00, 20 December 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
In other words, it was through language, given humanity’s permanent separation and alienation from nature, that Zhuang Zi could imagine the existence of something beyond. Zhang Wei’s pre-modern being is by no means ineffable. Yet, its “otherness” and its alterity vis a vis the modern world can only be perceived in our modern world, and represented through sophisticated devices of modernism/postmodernism. The absolute irony that the primitive or the pre-modern cannot be envisioned and represented except in our modern cultural condition in fact exists in the very center of this utopian text, though unrealized by the author himself as he repeatedly criticizes postmodernism and denies its inevitable influence. &lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
So the natural or the pre-modern state of being as eulogized by the author is no longer the first order of naturalness, but the second order, for it is only through an elaborate narrative architecture that such primitivism and naturalness can be re-enacted. To put it in another way, in resurrecting the primitive in our postmodernist age, the author in fact brings out, though unconsciously, a fundamental truth about primitivism. The natural, organic and a-temporal world of agrarian existence represented by the Small Village is not, in fact, a utopia from which we have fallen. Rather, it derives its meaning only through its opposition to a temporal world of modern civilization. Only in contrast to this temporal world can the primordial, the timeless take on meaning as negation of historical time.&lt;br /&gt;
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因此，作者所赞颂的自然或现代化之前的存在状态不再是自然的第一阶，而是第二阶，因为只有通过一种精心设计的叙述架构，这种原始主义和自然才能重现。换句话说，在后现代主义时代，作者在复活原始事物的过程中，实际上无意识地揭示了原始主义的一个基本真理。事实上，以小村所代表的自然的、有机的、非时间的农业世界的存在并不是我们所堕落的乌托邦。相反，它之所以有意义，是因为它与现代文明的现世世界是对立的。只有与这个短暂的世界相对比，原始的、不受时间限制的事物才能被赋予否定历史时间的意义。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:37, 19 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
Thus the ideal of a timeless, primordial rural past beyond modern civilization is only an ideal created in our modern times.&lt;br /&gt;
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In my discussion of modernist/postmodernist literary devices, I do not mean to label and categorize Zhang’s text as a modernist/postmodernist. Nevertheless, as seen in the above analysis, his formal strategies do share some strong features of postmodernism, or to be specific, magical realism. These features include boundary transgression, fusion and coexistence of different ontological worlds, and atemporal narrative structure. There is no doubt that Zhang Wei has succeeded in creating a world, a state of being beyond the reach of modern civilization. But his “world,” in the final analysis, can only be represented through modernist/postmodernist techniques.   &lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
It is evident that the creation of this archetypal village embodies the author’s profound nostalgia for the pre-modern past and his utopian search for an ideal state of being. And this timeless place represents the author’s attempt to re-orient geographical and cultural nostalgia in China’s contemporary times from commercially stimulated nostalgia to the rural past as the fundamental Chinese root. Yet the lack of direct temporal and spatial references in the presentation of the Small Village makes his nostalgia closer to imagination, or to what David Wang called, imaginary nostalgia (1993, 107). In other words, his nostalgic representation of the Small Village is devoid of actual memory. This is particularly demonstrated in his deliberately designed a-temporal narrative structure, his foregounding of myth, legends and those magical events.&lt;br /&gt;
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显而易见的是，这一原型村落的创作体现了作者对前现代过去的深切怀旧和对理想存在状态的乌托邦式追求。这个永恒的地方代表了作者试图从商业刺激性的怀旧到作为根本的中国根的农村的过去，重新定位中国当代的地理和文化怀旧。然而，在小村庄的表现中缺乏直接的时空参照，使得他的怀旧更接近于想象，或者更接近王大卫所说的想象怀旧（1993，107）。换言之，他对这个小村庄的怀旧表现缺乏真实的记忆。这一点在他精心设计的一种时间叙事结构、对神话传说和那些神奇事件的预言上表现得尤为明显。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:53, 19 December 2020 (UTC)&lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
Moreover, as the title indicates, the whole novel is intended by the author as a fable, rather than a history, even though it is written in a historical mode. The village’s mythic origin, its lack of sense of time, and its sudden and catastrophic ending all point to the negation of historical progression. The elaborate narrative structure betrays the imaginative and fantastic construction of this mythic past. Thus Zhang Wei’s Small Village is less a historical object of nostalgia than a topographical/textual locus where imagination and utopian discourse intermingle. In other words, as a literary construction, this phantom village comes less from the actual yearning for what has been lost than from the desire for what has never been there (Wang 1993, 130). &lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
The striking incongruity indicates the nature of nostalgia as both a textural stance as well as a structure of feeling. &lt;br /&gt;
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Nevertheless, the incongruity between formal sophistication and primitive existence is a very hallmark of literary and cultural production in our postmodernist China. In discussing the Fifth Generation Films, Rey Chow points out that primitivism is often associated with modernism/postmodernism. The “primitive passion,” according to Chow’s definition, emerges at “a moment of cultural crisis.” It is an invented fact,  fabrication of a sense of the primordial, rural rootedness that occurs in the post-construction (1995, 22-23). Chow’s theory of primitive passion is based on her study of new Chinese cinema.&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
However it does shed light on our discussion of Zhang’s profound nostalgia for the rural past at the age of globalization, and on the ironic rupture between postmodernist sophistication and the pre-modern/primordial world presented in his novel. Read in intertextual relation with his essays, it is more than clear that Zhang’s re-imagining of the primordial Chinese rural past is meant to correct what he perceives as the diseased modernity and to rejuvenate Chinese culture. As a response to the cultural crisis in our globalized age, Zhang Wei has chosen the past to measure the present. &lt;br /&gt;
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The nostalgic return in Zhang Wei’s writings is in fact a kind of self-exile. Zhang Wei actually spent five years in a rustic country house (soon to be torn down) near his hometown to write this novel. &lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
There he was literally cut off from the outside world, expecting that this exile away from modern cities would get him spiritually closer to the land and nature so as to feel anew the vitality of the Chinese people, and rediscover the historical/rural root of Chinese culture. As agreed by all critics, this novel’s representation of the primordial past succeeds in bringing out a native naiveté and simplicity, a sense of gushing life force and animal virility -- the ideal form of being. However, in de-historicizing the past in order to re-imagine the golden age of the rural innocence and plenitude of meaning, the author had no alternatives but to simply let narrative play out its historical inevitability.&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
The pre-modern agrarian existence embodied by the Small Village is ultimately destroyed by modern industrialization. History then, though negated and erased by the narrative form of the novel, reasserts itself at the end. This leaves us not with a story about the slow decline of this pre-modern agrarian existence, but of its catastrophic fall. The structure of the village’s existence was in no way able to change and transform itself. This is demonstrated by the villagers’ strong resistance to outside influences represented by coal mining industry. As a result, rather than gradual transformation, the village is suddenly destroyed by industrial machine power.&lt;br /&gt;
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最终，现代工业化抹杀了小村庄所展现出的前现代农业文化。那时的历史虽因小说的叙事形式而遭否定和抹去，但在结尾时又重新跃然纸上。它为我们展现的并不是前现代农业文化缓慢地销声匿迹，而是其灾难性的衰落。这个村庄的存在结构决定了它无法自变，村民强烈抵制受到来自外界煤矿业的影响就是一个很好的证明。结果，这个村庄并没有逐步转型，而是突然摧毁于工业机器的动力。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 17 December 2020 (UTC)Mo Ling&lt;br /&gt;
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小村庄所体现的前现代农业生存最终被现代工业化所摧毁。那么，历史虽然被小说的叙事形式所否定和抹杀，但却在结尾处重新出现。这给我们留下的不是这个前现代农业缓慢衰落的故事，而是它灾难性的崩溃。村庄的生存结构是无论如何无法自变的，这表现在村民对以采煤业为代表的外界影响的强烈抵制。结果，这个村子不是逐步转型，而是突然被工业机器力量所摧毁。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
The moral dilemma Zhang faces in re-enacting of the Chinese rural past is similar to those encountered by root-seeking writers: the quest for the essence of “Chineseness” also leads to the discovery of unpleasant aspects in its society and cultural tradition. This moral dilemma is also reflected in the novel’s narrative form. While magical events serve to deconstruct the realist paradigm of historical representation, they at the same time also create a picture of rural life as something exotic. As David Wang points out, the object of nostalgia is also easily associated with the exotic (1993, 109).   &lt;br /&gt;
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So if we have found some substance in Zhang’s novel to support his transcendent, yet empty metaphor of “land,” this “substance” remains less than compelling and appealing. &lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
A primitivistic village life can be little more than that: it is basic and instinctual, centering on food and sex. The meaning of land is closely related to food; indeed the reason the villagers stick to this land is because it can produce rich food enough to preserve their community. The carnivalesque scenes describing the village young romping in the wild fields at night, while highly acclaimed by many Chinese critics, do not, to my mind, represent an infinite solitude or a simple form of joy as much as the poverty of these lives in an extremely closed and impoverished world. This strikes an even more pathetic chord when knowing that this form of exercise will soon be transformed into wife beating and cupping when these young people grow into adulthood.&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
The extremely stable pattern of the village’s social customs, mindset, and traditions is incapable of absorbing new things, or initiating any transformation. So the static and cyclical form of existence is simply erased by the outside forces of industrialization. In a broader sense, the history of the Small Village, or rather, its fate can be seen as an allegory for Chinese traditional society which was also forced into fundamental change from the outside. Thus the Small Village reflects the broader historical impotence and lack of cultural flexibility in traditional rural China. Many critics, including the author himself, argue that the idea of Land is meant to represent a certain spirit. Nevertheless, unless located somewhere, this spirit can only remain an empty structure.&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
Nevertheless, it is precisely this structural emptiness that enables Zhang Wei to fill in many meanings throughout his essays. &lt;br /&gt;
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''Fable of September'', as well as Zhang’s essays, embody his search for truth and a moral ground based not on the rationally constructed modern world of scientific knowledge and market economy represented by urban centers, but on the simplicity of rural life. This search is rooted in the author’s disenchantment with certain aspects of modern civilization. To Zhang Wei, “Modern industrial civilization represents a form of beauty; yet this form is prone to hurt another more fundamental, more eternal beauty. Idealists all hope that these two forms of beauty can exist in harmony, without much conflict.&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
But of course, this hope is only a dream” (Xiao 1995, 193). This distrust of modern civilization also reflects in him what Raymond Williams called “rural-intellectual radicalism” (1973, 36). Indeed, as a rural intellectual (as many critics have labeled him), Zhang demonstrates many aspects of rural-intellectual mentality: hostile to modern capitalism, opposed to commercialism, and attached to country ways and feelings (Williams 1973, 36). Without doubt, ''Fable of September'' is a fascinating novel and has uttered our deepest longings and profoundest nostalgia for a pre-modern simplicity of existence free of modern-day ills like alienation and corruption.&lt;br /&gt;
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......当然，这份希望只是幻梦一场”（萧夏林 1995,193）。张炜的作品也体现了对现代文明的不信任，雷蒙德·威廉姆斯称之为“乡村知识分子激进主义”(威廉姆斯 1973, 36)。确实，张炜作为一名乡村知识分子（许多批评家如此标榜他），在作品中展现了乡村知识分子的多个心理面貌：对现代资本主义的敌意，对商业主义的反抗，对乡村风情的依恋(威廉姆斯 1973, 36)。毋庸置疑，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活浓浓的渴望和怀旧之情，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:00, 17 December 2020 (UTC)&lt;br /&gt;
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但当然，这种希望只是一个梦想“（萧夏林 1995，193）。 这种对现代文明的不信任也反映了雷蒙德·威廉姆斯所谓的“农村-知识分子激进主义”（威廉姆斯 1973，36）。 事实上，作为一名农村知识分子（正如许多评论家给他贴上的标签），张炜展示了农村知识分子心态的多个方面：敌视现代资本主义，反对商业主义，对乡村风情的依恋(威廉姆斯 1973，36)。 毫无疑问，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活深切的渴望与怀念，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:54, 17 December 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
Nevertheless, Zhang’s use of the central concept of  “land” (referring to an idealized being) as the basis for his critique of modern civilization – decrying moral decay, consumerism, dominance of popular literature and commercialization of knowledge – and his rural intellectual mentality this concept reveals betray the author’s simple-minded, essentialist, and absolutist approach to the complexity of an ever changing social and cultural reality. The reification of land in his essays lacks a broad and deep historical perspective on Chinese modernity. Commercialism and its culture have by all means contributed to the general moral decay and erosion of basic humanistic values in society, and global cultural effects lead to profounder cultural crisis.&lt;br /&gt;
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然而，张使用“土地”的中心概念（指理想化的存在）作为他批判现代文明的基础-谴责道德沦丧、消费主义、大众文学的主导地位和知识的商业化-以及他的知识分子心态-这一概念揭示了作者对不断变化的社会和文化现实的复杂性的朴素、本质主义和绝对主义的态度。 在他的散文中，土地的再化缺乏对中国现代性的广泛而深刻的历史视角。 商业主义及其文化通过各种手段促成了社会基本人文价值的普遍道德沦丧和侵蚀，全球文化效应导致了严重的文化危机。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:46, 17 December 2020 (UTC)&lt;br /&gt;
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然而，张把“土地”（指理想化的存在）的中心概念作为他批评现代文明的基础——谴责道德沦丧，消费主义盛行，流行文学盛行，知识商业化——这一概念揭示了他作为农村知识分子的心态，思想单纯，本质主义，以及对不断变化的社会和文化现实的复杂性采用绝对主义方法。他散文中土地的物化缺乏对中国现代性采用广阔而深刻的历史视角。商业主义和它的文化无疑导致了道德上的沦丧，也侵蚀了社会中基本的人文价值，全球文化效应导致了更深层次的文化危机。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 01:10, 18 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
However, the absolute rejection of consumerism, globalism, and postmodernism fails to recognize their power and inevitability in restructuring contemporary Chinese society. The problems created by these developments have already moved the issue of solution beyond a discourse on morality. China’s ever more complex and changing social and cultural reality requires a more sophisticated and mature understanding. And finally, I would suggest that in today’s post-Cold War age in which socialism-capitalism antithesis has lost its relevance and meaning, the intellectual paradigm of confrontation must be replaced by one of negotiation. Nostalgia may always be pulling at us, and we may always be willing to indulge in a trip to the imagined past with stories like ''Fable of September.'' But as a critical stance, it does not equip us to effectively address the complex process of cultural reformation happening in contemporary Chinese and the world.&lt;br /&gt;
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Works Cited（不用翻）&lt;br /&gt;
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Chow, Rey, Primitive Passions, (New York: Columbia University Press, 1995)&lt;br /&gt;
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Benjamin, Walter, Illuminations, (New York: Schocken Books, 1968) &lt;br /&gt;
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Widmer, Ellen, and Wang, David Der-Wei, ed., From May Fourth to June Fourth, (Cambridge: Harvard University Press, 1993)&lt;br /&gt;
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Williams, Raymond, The Country and the City (New York: Oxford University Press, 1973)&lt;br /&gt;
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Xiao Xialin, Youfen de guitu (Anxious and indignant homeward journey) (Beijing: Huayi chubanshe, 1995)&lt;br /&gt;
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Zhang Chengzhi 1991, History of the Soul (Guangzhou: Huacheng chubanshe, 1991) 311.&lt;br /&gt;
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Zhang Chengzhi 1994a, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994)&lt;br /&gt;
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Zhang Chengzhi 1994b, “Poets, Why aren’t you indignant?”, in Wenhui Bao (Wenhui Daily, Shanghai) (August 7, 1994) &lt;br /&gt;
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Zhang Chengzhi 1999a, Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999)&lt;br /&gt;
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Zhang Chengzhi 1999b, “My Method of Tearing up those Business Cards,” in Zhang 1999a&lt;br /&gt;
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Zhang Chengzhi 1999c, “Zaizhi xiansheng,” in Zhang 1999a 100-105&lt;br /&gt;
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Zhang Wei, Jiuyue yuyan (Fable of September), in Zhang Wei wenji (Collected works of Zhang Wei). Vol. 2 (Shanghai: Shanghai wenyi chubenshe, 1992)&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
'''Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's &amp;quot;Religious Sublime&amp;quot;''' &lt;br /&gt;
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''Xinmin Liu&lt;br /&gt;
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'''Abstract&lt;br /&gt;
'''&lt;br /&gt;
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Since mid-1990s the Chinese Sanwen has witnessed an upsurge by way of frantic polemics over social and cultural issues in journals, newspaper fueillton, book series and forums.  In this &amp;quot;war of words,&amp;quot; no writer has been as prolific, as provocative and as problematic as Zhang Chengzhi. &lt;br /&gt;
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Zhang's essays feature a scathing critique of Chinese intellectuals' lack of spiritual faith, their surrender to global consumerism and the postmodern.  Driven by a populist zeal, Zhang extols Chinese muslims' devotion to their religious faith, defiance of material affluence and bond to their harsh yet unsullied habitat.  His populist approach to religious transcendence in opposition to what he perceives as today's intellectual disenchantment is ambiguous and ambivalent.&lt;br /&gt;
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“”破译民粹：围绕张承志“宗教崇高”的文化论战”&lt;br /&gt;
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  刘新民&lt;br /&gt;
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''&lt;br /&gt;
 '''摘要&lt;br /&gt;
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自1990年代中期以来，中国三文通过在期刊，富尔登报纸，系列丛书和论坛上对社会和文化问题的激烈争论而目睹了高涨。 在这场“口水战”中，没有哪个作家像张承志那样多产，挑衅和有问题。&lt;br /&gt;
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张的文章对中国知识分子缺乏精神信仰，他们屈服于全球消费主义和后现代主义提出了严厉的批评。 在民粹主义热心的推动下，张赞赞扬中国穆斯林对宗教信仰的热爱，对物质富足的蔑视，并与他们生硬但未受污染的生境联系在一起。 他的民粹主义对宗教超越的态度与他认为今天的知识界的对立是模棱两可和矛盾的。&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
It wavers between subaltern politics and religious fundamentalism.  It  falls short of the prospect of constructing a ethnic pluralism that protects cultural differences without yielding to cultural positions that claim unique access to truth.&lt;br /&gt;
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In a polyglot age in which all has to be contested and negotiated anew, boundary- violating is the rule rather than the exception.  Before the last millennium closed out, the Chinese essay thrived in an upsurge of cultural polemics, but in terms of aesthetic and ontological norms, the essayists could ill afford to stay within secure and clear-cut boundaries for long, because they often found themselves bombarded and displaced by a plethora of slippery issues, wacky themes and “roguish dilettantes.”&lt;br /&gt;
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它在次要政治和宗教原教旨主义之间摇摆。它没有建立一种可以保护文化差异而又不屈服于声称通过独特途径获得真理的文化立场的民族多元主义前景。&lt;br /&gt;
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在一个必须重新竞争和协商的多语言时代，违反边界是规则而不是例外。在上个千禧年结束之前，中国散文在文化争论中兴起。但就美学和本体论规范而言，由于经常被众多滑溜的问题，古怪的主题和“肮脏的弱势分子”轰炸而流离失所，散文家们无法长期在安全和明确的边界内停留。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 11:51, 17 December 2020 (UTC)&lt;br /&gt;
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它在低级政治和宗教原教旨主义之间摇摆不定。它未能构建一个保护文化差异，并不屈服于声称有独特途径了解真相的文化立场的民族多元化的前景。&lt;br /&gt;
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在一个多语言的时代，一切都必须重新竞争和谈判，打破边界是规则而不是例外。在上一个千禧年结束前，中国散文在文化论战的热潮中蓬勃发展，但就美学和本体论规范而言，散文家们无法长期呆在安全和明确的界限内，因为他们常发现自己被一大堆难以捉摸的问题、古怪的主题和“无赖的业余爱好者。”驱逐出去--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:45, 17 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
With battle lines frequently redrawn and growing ever so fuzzy, this round of cultural polemics took on the characteristics of a wild slugfest, no-holds-barred wrestling and elusive shadow boxing.  But true to its essaying (or, alternatively, assaying) role, the essay form rose to the challenge with the right mix of mercurial, discordant and yet self-assured mettle.  Thus, it proved most capable of lending expression to chaos, fracture and trivia of the postmodern world.  One need not search far to bring this point home: the essay has lately swamped the public media with its newfangled offshoots: in addition to the common literary and political essays appeared the licai (personal financing) essay, the xiuxian (leisure/recreation) essay, the photo essay, the cyber essay and so forth. But it is with the cultural polemics of the 1990s that the readers witnessed the essay form in most amazing novelty, deftness and verve.  &lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
One way to make sense of what essay form enabled the writers to achieve amid the “wars of words” (pizhan) is to take it to task by way of its intrinsic bond with cultural dialogics, i.e. to see how approaches of writing essays lead to the laying of grounds for a dialogic relationship that intersects even the most incendiary issues and dissimilar views of this discursive maze.  To that end,  we will focus on Zhang Chengzhi’s essays published after mid-1990s to see why a radical intellectual figure like Zhang, considered an intractable loose cannon by most, often contests and mediates, by virtue of his border-violating politics, what the cultural mainstream considers to be polemical and divisive.  At once belletristic and carnivalesque, Zhang Chengzhi’s essays stood out with striking clarity and urgency, if also with unnerving uproar.&lt;br /&gt;
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想要理解散文这一形式让作家们在“文字之战”中做到了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 08:34, 19 December 2020 (UTC)&lt;br /&gt;
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想要理解散文这一形式让作家们在“文字之战”中获得了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 19 December 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
Extolled by some as the author whose one book single-handedly redeemed Chinese writing of the entire twentieth century, Zhang was riding high on the tailwind of his enormously popular Xinling shi (History of the Soul, 1992) and seemed to have returned to the public forum with his discursive buoyancy revived and his sense of the “sacred” mission renewed.  At first glance, this does not seem the same Zhang Chengzhi who was overwhelmed by the spiritual loftiness he had ascended to upon completing ''Xinling shi'' and pleaded to his readers in all earnest, “there will no longer be this “me” from now on.  Please banish me from your memory.  … I have even taken myself by surprise that with this book I could bring myself to such a screeching halt.”[	Zhang Chengzhi, ''History of the Soul'' (Guangzhou: Huacheng chubanshe, 1991) 311.]  But did Zhang ever quit the public forum and banish his voice from the on-going dialogue with his readers afterwards?&lt;br /&gt;
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称赞为一本书的作者一手救赎整个二十世纪中国写作,张风头正劲的顺风非常受欢迎的新陵史(历史的灵魂,1992)和似乎已经回到了公共论坛和他东拉西扯的浮力重新和他的“神圣”的使命感再次。乍一看，这似乎不是当年的张承志，他在完成《新灵诗》后，因精神上的崇高而狂喜，并真诚地向读者祈祷:“从今以后，不会再有这个‘我’了。”请把我从你的记忆中抹去。……我甚至连自己都感到惊讶，有了这本书，我竟然能让自己停下来。张承志:《灵魂史》(广州:花城初社1991)311。但是章子怡有没有退出公共论坛，在随后与读者进行的对话中抹掉自己的声音呢?--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 11:20, 19 December 2020 (UTC)Qi Kai&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
And did he accidentally join the ranks of those escapist intellectuals who self-righteously beat a retreat in the face of social repression and identity dislocation of the early 1990s?  &lt;br /&gt;
&lt;br /&gt;
Indeed, at the height of his unexpected fame in 1992,[	Zhang Chengzhi made repeated statements in his essays written around this time that he had voluntarily terminated his career as a professional writer out of his desire to be embraced by the Muslim community and out of his disgust for what writers and intellectuals in general had failed to do in the face of rampant consumerist values.] Zhang did not hesitate to declare that his career as a professional writer had come to an end, and that he would retreat to the Muslim communities in the barren loess in Northwest China to begin his new life.  While it is true that he verbally renounced his faith in and severed his tie with the mainstream intelligentsia, reality has proved otherwise: he could neither disinherit the dialogic potential of his earlier essays the same way as he allegedly cast off his ''Han'' Chinese upbringing, nor disown the intellectual milieu of his growth as though it were those business cards he symbolically tore up in disgust.[	This symbolic act is given an elaborate defense in one of his “position-statement” essays, “My Method of Tearing up those Business Cards,” published in Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999).]  &lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
Zhang cannot give up the act of writing through which he once defied the false sanctity of official histories and celebrated the purity and incorruptibility of the ''Jahriyya'' Muslims,[	A sect Chinese Muslims who are often considered the inheritor of mystical Sufis of the religion of Islam.] and to which he owed the stage for exhibiting his extraordinary discursive power as well as his reinvented ethnic identity.  While still pursuing his spiritual pilgrimage as a lone warrior, he could hardly remain an intellectual recluse in an imagined sanctuary.  Although his views often turned hard-edged due to his combative and self-aggrandizing tone, we need not necessarily be put off by his ill-advised posturing, which is far more rhetorical than substantive.  Rather we are urged to see beyond his argumentative mode and detect that ineluctable draw of cultural dialogics that lured him to charge right back to the frontline of the discursive war zones.  &lt;br /&gt;
   &lt;br /&gt;
Zhang’s essays published since mid-1990s prove most intriguing and forceful when they give vent to his critical views that deliberately blur the boundary between personal commitment with public conscience.&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
Seldom a believer of easy cultural synthesis, Zhang thrives in getting caught in the crossfire of public debates and wreaking havoc for the intellectual mainstream whose social legitimacy has fed off a complicitous liaison with the official and the ideological center.  In a sense, what constituted the identity of his previous self, i.e., the “I” who nimbly narrated a hidden history of a suppressed people in ''History of the Soul'', was a persona already poised on the borders between public outcry and personal misgiving, between official histories and popular memoirs, between discourses of cultural criticism and identity politics.  Akin to the self/other-conscious tone of Martin Buber’s ''I and Thou'', Zhang’s resort to “You” side by side with “I” as his discursive partner not only denotes the presence of a dialogic partner cued up by intersubjectivity, but interjects a critical awareness to set off the “unanimous intellectual escapism.”[	Here I am quoting the phrase from Dai Jinhua’s journal article “Hidden Narratives: The Politics of Mass Culture in the 1990s.”  Her view is critically assessed by Chen Jianhua in his “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” carried in Journal of Asian Pacific Communication, vol. 9, Nos. 1 &amp;amp; 2, 113-29.  ]&lt;br /&gt;
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很少有人相信简单的文化综合，他在公共辩论的交火中fire壮成长，并对知识分子主流人士造成严重破坏，他们的社会合法性已经与官员和意识形态中心进行了复杂的联络。从某种意义上说，构成他以前的自我的身份（即“我”）已经在公开抗议的边界上蓄势待发，该人在“灵魂历史”中灵活地讲述了一个被压迫者的隐藏历史。在官方历史和大众回忆录之间，在文化批评和认同政治的话语之间，还有个人的疑虑。类似于马丁•布伯（Martin Buber）的《我和你》 的自我/其他意识语气，张以“我”作为他的话语伴侣并肩地诉诸于“你”，不仅表示存在被主体间性暗示的对话性伴侣. ，但插入了引发“一致的知识逃避现实主义”的批判意识。[在这里，我引用戴金华的期刊文章“隐藏的叙事：1990年代的大众文化政治”这一短语。陈建华在《亚洲及太平洋通讯》第一卷中发表的“叙事竞赛中的本地和全球：自由主义和新左派在1990年代后期的中国”中对她的观点进行了严格的评估. 9号1和2，113-29. ]--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:20, 19 December 2020 (UTC)&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
Initially a survival tactic to avert political repression in post-1989 China, this latter movement gained popular currency in the early 1990s as some intellectuals and professionals who used to pursue political activism now withdrew into enclosed fields of specialist researches where they could claim professional excellence as their new moral high grounds and practice professional elitism as a testimony to their personal spiritual faith.   These so-called “New Scholars” valorized scholarly research as “not just a matter of knowledge or profession, but more fundamentally, a form of life choice and value inquiry.”[	Chen Pingyuan, “Thoughts on Research of Scholarship History,” Xueren I, 2-6. ]  Alongside this process of self-authorization, they also sported a sweeping disdain toward mass culture or other nonprofessional cultures.  Was this a covert strategy of resisting moral degeneration, or a “club-spirit” rally of collective escapism in the guise of professional disinterest? &lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
Zhang’s answer rebukes the latter.  Long before the first public debate over such issues took place, his own self-authorization in writing ''History of the Soul'' brought the “impartial” search for historical truth under critical scrutiny.  Positing his ethnic unconscious as the testing site, Zhang launched an assault on the falsely fixed standards in writing ''Hui'' histories whose authority had been complicitous with the chauvinistic State ideology.  He berated the methodological status quo in Chinese Muslim scholars’ historiography for tailoring local and ethnic memories to cater to the legitimacy of its hegemonic control.  In the same vein, he called into question the validity of collecting and editing historical documents according to empiricist standards, chastising its total submission to a positivist view of historical development in the name of scholarly objectivity.&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
He specifically targeted the renowned Hui historian Yang Huaizhong whose investigation of ''munafeles'', ''Hui'' collaborators with ''Manchu'' and ''Han'' rulers, had, in Zhang’s view, internalized the reigning codes of power-knowledge alliance.  Despite of his fine appraisal and extensive research, Zhang reproves Yang’s aloof stand:&lt;br /&gt;
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On the one hand, you try to reflect critically yourself and your tradition, on the other, you want to bring to light the suppression and violation committed against the human soul.  How can the kind of subject you’re studying still be the same historiography? &lt;br /&gt;
If Yang had yet to shake off the false sense of ethnic anonymity, Zhang does not make it any easier for himself when faced with the historical injustice inflicted upon the ''Huis''.&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
At the Jinji Bao, a historical site of many quelled ''Hui'' uprisings in 19th century, he could hardly help chiding himself for not “avenging the historical wrongs” as a professional historian.   He confesses in a 1996 essay entitled “Odes to Waves”: &lt;br /&gt;
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It so happened that I have the fortune of being a full-fledged academic historian, yet I examined every single detail (of official records) critically but could not offer any rebuttal.  It so happened that I was born of ''Hui'' parentage, yet I attempted to skirt around it but could not escape this historical site---the wintry mist shrouding Jinji Bao pounded me wave after wave, pressing me to make a pledge, to declare a ''nietie'',   to make good the pledge of being dedicated to the people I took rather casually years ago. &lt;br /&gt;
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Yang Huizhong, also known as Yang Mohammed Usiar, is a well-known Hui historian who has done crucial research on 18th Century Jahriyya Muslim uprisings.  Zhang’s critical comments appear in T''he Heroes’ Paths in Wilderness'' (Shanghai: Zhishi Publishing House, 1994) 125.（文献无需翻译）&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
This is not an occasional outburst of emotions for the sake of letting off his own guilt.  This is sincere self-reproach to prod himself into keeping his ethnic memory and affective empathy from being worn thin by his years of academic studies, field work and research.  Unlike the New Scholars’ chase of  “disinterest” and neutrality, Zhang opts  valiantly for the direction of racial and social activism: to knock down posts erected by “objective” histories, penetrate the walls of political and religious phobias and uncover the buried truths of ethnic repression and violence.  One might query Zhang’s view of historical scholarship as emotive and skewed, thus running the risk of demeaning historiography into personal misgivings.&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
But in the era of cultural pluralism and ethnic identities, it is precisely the affective and personal that keep our ethnic awareness alive and urge us not to take boundaries of power and knowledge for granted.    &lt;br /&gt;
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No doubt, Zhang enters the debate of “the ultimate concern” of the mid-1990s, but he does so on his terms.  He puts forward an ethnographical approach consisted of a person’s affective propensities (''qinggan''), ethnic lineage (''xuetong'') and a “prefigured destiny” (''qianding'').  These are interlocked and reciprocal in variety of ways to enmesh a person in a nexus of cultural dialogics.  He then probes the illusion of professionalism in the form of an “originary question” (''yuanchu zhiwen'').&lt;br /&gt;
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但在文化多元化和民族认同的时代，恰恰是情感和个人因素使我们的民族意识得以保持，并敦促我们不要把权力和知识的界限视为理所当然。&lt;br /&gt;
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毋庸置疑，张加入了90年代中期关于 &amp;quot;终极关怀 &amp;quot;的讨论，但他是以自己的方式进行的。他提出了一种由一个人的情感倾向、民族血统和乾定命运组成的民族学方法。这些因素相互联系和相互作用，以各种方式使人置身于文化对话的关系中。然后，他以 &amp;quot;原初之问 &amp;quot;的形式来探究专业主义的假象。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 03:56, 19 December 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
He asks: “How do you account for your being in the face of your own soul when there is nothing scientific or ideological to fend you from this ultimate accountability?”   To him what accounts for his ultimate humanist concern is his ''Hui'' ethnicity.  Ethnicity, according to Michael Fischer, “ … is something dynamic, often unsuccessfully repressed or avoided.  It can be potent even when not consciously taught; … something that institutionalized teaching easily makes chauvinistic, sterile, and superficial.”   It is thus the “id-like” sentient and psychological that lay the ground for one’s ethnic/cultural conditioning and in turn bring it to bear upon one’s historical awareness. &lt;br /&gt;
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A sinicized Islamic term for “taking a devotional vow.”  It is also known as Juyi in Chinese.&lt;br /&gt;
Zhang 1999a, 37.&lt;br /&gt;
Zhang Chengzhi, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994) 125. &lt;br /&gt;
Michael Fischer, ‘Ethnicity and the post-modern arts of memory,” in James Clifford and George Marcus, eds., Writing Culture: The Poetics and Politics of Ethnography (Berkeley: University of California Press, 1986) 195. （文献无需翻译）&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
Being ethnically predisposed as an “other” likewise makes Zhang acutely watchful of the State’s covert practice of ethnocentrism in the name of social progress and scientific rationality.  Drawing on his renewed ethnic ethos, Zhang has no qualms in issuing a call to all historians: “… disinherit the whole positivist baggage of the conventional historiography, and seek out the complex intuitive faculty of your individual soul.” &lt;br /&gt;
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What about his image of a lone moral crusader?  A great deal of ruckus has been raised over Zhang’s arguably obsessive stress on the “purity” and “truthfulness” of the ''Jahriyya'' Muslims; he is disparaged by some critics as “the most self-pleased” man in China today,”   due precisely to his tireless and unsuspecting adoration of the close-knit and reclusive ''Jahriyya'' community.&lt;br /&gt;
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作为一个 &amp;quot;他者 &amp;quot;的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。 借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。&amp;quot;... 摒弃传统史学的全部实证主义包袱&amp;quot; &amp;quot;寻找你个人灵魂的复杂直觉能力&amp;quot; 。&lt;br /&gt;
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他的一个孤独的道德十字军形象呢？ 张先生对''贾里雅''穆斯林的 &amp;quot;纯洁性 &amp;quot;和 &amp;quot;真实性 &amp;quot;可以说是执着地强调，引起了很大的骚动；他被一些评论家贬为当今中国 &amp;quot;最自得其乐 &amp;quot;的人，&amp;quot;这正是由于他孜孜不倦地、不怀好意地崇拜着封闭而隐居的''贾里雅''群体。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:38, 16 December 2020 (UTC)&lt;br /&gt;
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作为一个“他者”的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。“……摒弃传统史学的全部实证主义包袱”，“寻找你个人灵魂的直觉能力。”&lt;br /&gt;
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那么关于他的一个孤独的十字军形象呢？张先生对贾里雅穆斯林的“纯洁性”和“真实性”可以说是不断地进行强调，引起了很大的骚动；他被一些评论家贬为当今中国“最自得其乐 的人，”而这正是由于他孜孜不倦地、毫无戒心地崇拜着紧密而又隐居的贾里雅群体。”--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:08, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
Does this not make him one of those solitary seekers of moral perfection in a morally promiscuous age?  Zhang’s admonishing axioms seem to answer in a seamless fit to Wang Xiaoming’s definition of a self-oriented search for ethical righteousness.  As an alternative to the intellectuals’ direct involvement in politics of the 1980s, Wang emphasized the personal quality of ultimate concern and argued: “(1) you can only search for the ultimate value from your personal experience; (2) what you find is your own interpretation of what the ultimate value is, not the ultimate value itself.”   Zhang seems to share the solitary seekers’ new sense of priorities in favoring a self-motivated quest for absent moral virtues, albeit transcendental and visionary. &lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
But one facet of his writings forcefully rejects that equation: he has all along kept up public-minded criticism of social ills and moral depravities as a free-lance social/cultural critic.  What the seekers of personal integrity and sublimation failed to hang onto Zhang has carried on with infinitely sharper insight and fiercer zeal.&lt;br /&gt;
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Zhang detects and detests the anxiety of these individuals to rise above the laity of social meanings and responsibilities as a way to avoid being an accomplice to ideological repression. And indeed his most scathing exposé has so far been reserved for the mainstream intellectuals rather than the money-grabbing ''New Riches'' or the consumerist mass.  &lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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When readers’ feedback to his ''History of the Soul'' heated up into a media squabble in 1994, Zhang burst onto the scene again with another of his tirades “Poets, why aren’t you indignant?”   The essay is brimmed with scorn for the public for its total surrender to consumerism and their frantic drive for worldly pleasures; yet it is the intellectual mainstay who bear the brunt of his verbal onslaught.  Zhang accused them of “selling out to monetary gains and worldly repute,” the news media of “swarming up like bees after the ‘big shots’ for petty favors and leftovers, and the cultural critics of “becoming painfully silent on any honest, principled, to-the-point criticism.”  &lt;br /&gt;
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Zhang 1994a, 125.&lt;br /&gt;
Zhang Yuanshan, “Zhang Chengzhi---the Most Self-Pleased Writer” at Xin yu si dianzi wenku (www.xys.org), listed under Zhang Yuanshan.&lt;br /&gt;
Zhang Rulun et al, “The Humanist Spirit: whether and How Is It Possible?---Reflections on the Humanist Spirit, I” in Dushu 3: 3-13.&lt;br /&gt;
For a fine critique of this shift of intellectual paradigm, see also Xu Ben.  Disenchanted Democracy: Chinese Cultural Criticism after 1989 (Ann Arbor: The University of Michigan Press, 1999) 49-56. （文献无需翻译）&lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
For a time, Zhang’s readers felt jabbed by his barbed comments on the gaping “void” of spiritual faith and rampant cynicism, philistinism and moral incompetence among the intellectuals.  They were also exacerbated by his unmatched tribute to the ''Jahriyya'' Muslims who remained unperturbed by the hustle and bustle of economic boom elsewhere in China.  All this led the public to conclude that Zhang’s posturing was cashing in on the polarization of the Haves and the Have-nots of China’s new social strata, and that with his accolades for “the poor men’s religion” he intended to push for the image of a “Me-alone Spirituality.”&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy.   &lt;br /&gt;
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Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.&lt;br /&gt;
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这种严重的误解竟然成为王朔等人诋毁他而提出抗议的主要理由，指责他依靠日本和海外出版的刊物事业一心一意地发大财，却还虚伪地反过来教训国内知识分子玩世不恭、腐败潦倒。  &lt;br /&gt;
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这一切都离不开此等事实：即张先生虽然对贫困穆斯林僵化贫瘠的生活环境感到十分亲切，但他并不一定像某些批评家所标榜的那样，会对物质享受和社会发展持有偏见态度。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:46, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy.   &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
这种严重的错误认识，成了像王朔这样的诋毁者提出抗议的主要理由，他们指责他依靠在日本和海外的出版物一心只想着致富，同时又虚伪地反过来告诫国内知识分子，说他们玩世不恭、腐败潦倒。&lt;br /&gt;
&lt;br /&gt;
Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.&lt;br /&gt;
&lt;br /&gt;
事实并非如此：尽管张先生对贫困穆斯林的僵硬贫瘠的生活环境感到熟悉亲切，但他并不一定像一些批评家所说的那样，对物质享受或社会发展抱有偏见。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:09, 16 December 2020 (UTC)Xiao Yining&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
Rather, he is adamant with the intellectuals’ frailties in the face of social malfunction and injustice as a result of harried economic policies, and he is outspoken about what little critical awareness the educated class can foster against the blindly raging “market forces” and the new alliances of wealth and power.  In 1999, Zhang wrote a sequel “Again to the Honorable Teacher” to his 1991 tribute to Lu Xun, in which he firmly declares that he will not back down from his previous judgment on Lu Xun’s misfortune---why Lu Xun chose not to leave us a legacy of great volumes of scholarly or professional worth.&lt;br /&gt;
&lt;br /&gt;
Zhang Chengzhi and Zhang Wei initiated a heated round of ''bizhan'' (pen-combats) in the Literary Supplement of ''Wenhui'' Bao (Wenhui Daily, Shanghai) over the issue of mass consumption and culture with many writers who are more sympathetic with the marketized economy and consumerist culture.  This essay by Zhang---“Poets, Why aren’t you indignant?” is featured as the leading editorial on August 7, 1994.    &lt;br /&gt;
Zhang Chengzhi, “Poets, Why aren’t you indignant?” in ''Wenhui'' Bao (Shanghai) (August 7, 1994).&lt;br /&gt;
For further detail of this dispute, read Geremie Barmé, ''In the Red: On Contemporary Chinese Culture'' (New York: Columbia University Press, 1999) 304-309. （文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。张承志、张炜在《文汇报》文艺副刊（上海文汇报）上，与许多对市场化经济和消费主义文化比较同情的作家，就大众消费与文化问题展开了一轮激烈的笔战。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:32, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:23, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
In fact, Zhang now argues, in less sarcastic yet firmer terms, why Lu Xun’s solitary yet relentless social and cultural crusades are gaining rather losing currency in 1990s’ China.  He writes:&lt;br /&gt;
&lt;br /&gt;
The populace in this nation have little power or scarce hope.  But they are quick to discover: when they suffer and despair under the heavy burden of tyrannical rule of the bureaucratic few, “the intellectual class” turn out to be, after politicians and money, another cruel oppressor.  The broad masses want nothing more than being fed and clothed.  But they need the intellectuals to keep up the basic and constant criticism of the social elite and the powerful.  Otherwise, their plight would be unthinkable.&lt;br /&gt;
&lt;br /&gt;
事实上，张现在用一种不那么讽刺但更坚定的措辞来论证:为什么鲁迅独行而无情的社会文化改革在90年代的中国越来越流行。他写道：&lt;br /&gt;
&lt;br /&gt;
这个国家的人民没有什么力量，也没有什么希望。但他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦绝望时，“知识阶层”就成了继政客和金钱之后的又一个残酷的压迫者。广大群众只想吃穿。但他们需要知识分子不断地对社会精英和权贵进行基本的、持续的批评。否则，他们的困境将是无法想象的。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 04:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
事实上，张炜现在用不那么讽刺但坚定的措辞来论证为什么鲁迅这种孤僻但无情的社会文化变革在90年代的中国长久不衰。他写道：&lt;br /&gt;
&lt;br /&gt;
这个国家的人民是积弱且缺乏希望的。然而他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦和绝望时，“知识阶层”便成了金钱和政客之后的又一残酷压迫者。广大百姓想要的只不过是吃得饱，穿的暖。但他们需要知识分子对社会精英和权贵保持基本、持续的批判。否则，他们的困境时无法想象的。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:39, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
We, as readers of Lu Xun’s ''zawen'', are surely struck by the familiar wording, the similar tone, and the unyielding views that have implausibly found their way back into Zhang’s essays over half a century later.  We are also surprised at how candid and unaffected he is when making such social commentary from a position comparable to the Great Lu Xun.  &lt;br /&gt;
&lt;br /&gt;
One is tempted to ask: is Zhang grandstanding?  I think not.  However, the causes for leaping to charges against his feisty offensive are worth looking into: they are, ironically, spawned off the same binary frame of mind that has been consistently used by the CCP ideologues to denounce the inroads made by “liberal bourgeois values;” yet such a frame of mind is also replicated by many of Zhang’s critics at home and overseas.&lt;br /&gt;
&lt;br /&gt;
作为鲁迅的读者，我们当然会被超过五十年后在张先生文章里发现那难以置信地熟悉的遣词、语气和坚定不移的想法而打动。我们也会惊讶，当把他放在同一位置和伟大的鲁迅进行比较，做出社会评论时，他是多么的坦率和不受影响。&lt;br /&gt;
&lt;br /&gt;
有人也许想问：张炜是在哗众取宠吗？我认为不是。然而，对于他来势汹汹的攻势的原因却值得探讨：讽刺的是，这些原因是由中共意识形态形态者用来谴责“自由主义资产阶级价值观”入侵的二元思维框架产生的。但是这种思维框架也被海内外许多张炜的批评者们所复制。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:19, 19 December 2020 (UTC)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
Odd bedfellows resting on the same cultural logic, they argue that criticism of the intellectuals’ dislocation and impotence in current China is motivated by the either/or option.  One is either directed by a regressive Party-led agenda to exert the authority of socialist ideological legacy while intimating their message amidst the consumerist ambience.  Or he/she is motivated by a dissenting political force to jump-start a new round of political subversion while laying itself open to patronage of the West (mainly America)-centered global order.  Zhang’s detractors from both these stances see eye-to-eye on his role in today’s cultural politics, following the either/or mode of straightjacket thinking.&lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
But I believe he is neither a firebrand of old egalitarian idealism nor an extremist with religious fundamentalist zeal.  His self-styled apologist persona is neither a haughty custodian of monolithic values, nor a self-righteous model of narcissistic purity and perfection, nor a slick po-mo master showcasing newly imported goods.  His is more of a lone outlaw in a “mobile warfare” in the Gramchian sense: preying on the unjust and corrupt elite, yet forever keeping the society at large at bay.   &lt;br /&gt;
   &lt;br /&gt;
Take the case of Zhang’s attitude towards “the people.”  Pervasive social and cultural changes triggered by State-endorsed market economy had been set in place in China by mid-1990s which had led to seismic dislocation and reordering across the entire social spectrum.&lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
The result is that familiar notions such as “the people” had been stripped of their usual ideological moorings, whereas the newly emerged social grouping was yet to be reckoned with.  While the recent cultural warfare has struck a bitter discord between the Liberals and the New Leftists over the definition of the masses (''dazhong''),  Zhang has been relentlessly lucid and unambiguous who they are---those of the disadvantaged and the impoverished in China today.   He is evidently critical of the Liberals who are eager for China to partake of a global economic order and evolve into a liberal society with a rising middle class as the nucleus of its civic values, but tend to lose sight of how this class of well-off Chinese (most notably the New Riches) can emerge without tipping economic and social imbalances towards those at the lower rungs of the social ladder.&lt;br /&gt;
&lt;br /&gt;
其结果是，人们熟悉的概念，如“人民”，已被剥夺了他们通常的意识形态根基，而新出现的社会群体还有待考虑。虽然最近的文化战争在自由主义者和新左派对“大众”的定义上产生了激烈的分歧，但张却毫不含糊地明确了他们是谁——当今中国的弱势群体和贫困群体。他显然是重要的自由主义者,他们迫切希望中国参与全球经济秩序和发展成一个自由与崛起的中产阶级社会作为其公民价值观的核心,但往往忽视这类富裕的中国人(尤其是新兴富人群体)的出现，而不引爆经济和社会失衡以及影响刚刚起步的社会主义事业。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:50, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
其结果是，&amp;quot;人民 &amp;quot;等熟悉的概念已被剥去了惯常的意识形态寄托，而新出现的社会群体却还没有被重视起来。 当最近的文化战在自由派和新左派之间就大众（''大中''）的定义发生激烈的争执时，张先生却毫不留情地明确了他们是谁--当今中国的弱势群体和贫困者。  他显然对自由派提出了批评，他们渴望中国参与全球经济秩序，并发展成为一个以中产阶级为公民价值核心的自由社会，但却往往忽视了这个富裕的中国阶层（最主要的是新富阶层）如何能够在不使经济和社会失衡向社会底层倾斜的情况下出现。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:39, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wen Xiaoyi 文晓艺==&lt;br /&gt;
For that matter, he is also adamant with the Po-Mo culturalists whose extreme ''kowtowing'' to the market culture and its mass consumers is, by way of an odd twist, turned into propelling forces for the predominantly ''Han'' Chinese to regain a very ethnocentric mode of self-empowering in a renewed East-West confrontation.&lt;br /&gt;
&lt;br /&gt;
Although Zhang’s view on “the people” is in close proximity to those of the New Leftists, he does not convey them as if they were their carbon copies.  Instead he distills the critical efficacy of their combat with the deceptive “mass culture” and implants it in his border-violating strategy as a mobile yet vital critiquing position.&lt;br /&gt;
&lt;br /&gt;
==Wu Kai 吴恺==&lt;br /&gt;
Contrary to what he sometimes claims---to jettison the culpable intellectuals in the name of “religious” purity, Zhang has always felt the urge to recharge the power of the intellectual self as expository but not dispossessing, diagnostic but not agnostic, and independent but not self-insulating.  The key to his border-crossing self is a dialogic interplay among multiple viable postures of the self while never allowing the self to be tied to a single rigid form of it.   It is by negotiating between these individual stances of conviction that Zhang aims to create a vigilant and constructive ambience to see to the redress of social injustice.  While revisiting Lu Xun in “Again to the Honorable Teacher,” he avidly called on Chinese intellectuals to embark on a solitary but enduring quest for the interests of the people at the lower rungs of the society.&lt;br /&gt;
&lt;br /&gt;
For further readings on this dispute, read Li Shitao, ed. Zhishi fengzi lichang: ziyou zhiyi zhizheng yu zhongguo xixiangjie de fenghua (The Position of Chinese Intellectuals: The divided intellectual circle over the issue of Liberalism) (Changchun: Shidai wenyi chubanshe, 2000).（文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
与他有时声称的那样——以“宗教”纯洁的名义抛弃应受谴责的知识分子，张先生总有一种冲动，那就是，要把知识分子自我的力量重新注入，做到说教而不是剥夺，诊断而不是不可知论，独立但不自我隔离。他跨越边界的自我的关键是在自我的多种可行姿势之间的对话互动，而不允许自我被束缚在单一的僵硬形式上。正是通过这些个人信念立场之间的协商，张先生旨在创造一种警惕和建设性的氛围，以期纠正社会不公。他在《重温恩师》一书中重温鲁迅时，热切地呼吁中国的知识分子开始一种孤独而持久的追求社会下层人民的利益的道路。&lt;br /&gt;
&lt;br /&gt;
关于这一争议的进一步解读，请阅读李世涛主编《知识分子立场:自由主义之争与中国思想界的分化》（中国知识分子的立场：自由主义问题上的分裂的知识界）(Changchun: Shidai wenyi chubanshe, 2000)。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:47, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Qi 吴琪==&lt;br /&gt;
To engage in a dialogue with these masses, he observes, is for the intellectuals “to forever keep a watchful custody of such people against the socially established and the powerful.”  And the masses will discover Zhang’s polemical writings, much as they did Lu Xun’s Zawen in 1930s, “there is always someone like Lu Xun who is cussing his heart, all alone in his crusade.”  &lt;br /&gt;
&lt;br /&gt;
'''Discussion of this chapter: The ''xiaopin wen'' between ''xianshi sanwen'' and ''zawen'''''&lt;br /&gt;
&lt;br /&gt;
''King-Fai Tam''&lt;br /&gt;
&lt;br /&gt;
I would first of all like to commend the contributors of this chapter for their original, well researched and well articulated papers which represent a diversity of angles of approaching the study of essays, while sharing an interest in the polemical nature of the genre.    &lt;br /&gt;
&lt;br /&gt;
Zhang Chengzhi, “Zaizhi xiansheng” in Wuyuan de sixiang (Unassisted Thoughts) (Changsha: Hunan chubanshe, 1999) 100-105.（文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
他发现，与这些民众的对话是为了让知识分子”对反社会和反权利人群永远保持警惕”。而且这些民众会发现张的议论文，就像他们在1930年代对鲁迅《杂文》所做的一样，“总有人像鲁迅一样，独自一人在呕心沥血地讨伐。”&lt;br /&gt;
&lt;br /&gt;
'''本章讨论：实现散文和杂文中的小品文'''&lt;br /&gt;
&lt;br /&gt;
''谭景辉''&lt;br /&gt;
&lt;br /&gt;
首先，我想向为本章提供原始资料作出贡献的人表示感谢，经深度探索且表达清楚的论文可以在分享对散文体裁辩论本质的兴趣时，从多个角度来呈现散文研究现状。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 02:28, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
''谭景辉''&lt;br /&gt;
&lt;br /&gt;
首先，我想对本章贡献原始资料的人表示感谢，这些论文研究深刻、表达清楚，不仅仅为着手研究散文提供了多个角度，还对散文体裁辩论本质拥有相同兴趣。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:36, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Qiong 吴琼==&lt;br /&gt;
Together, they constitute an eye-opener for me, given my interest in ''xiaopin'' wen and other similar works with a lyrical bent that shy away from discursiveness and argumentation.  If the ''xiaopin'' wen writers have anything to say about politics and society, it is often with a bemused tone; and the most that one can expect from them is a lamentation of some unjust social phenomenon, accompanied perhaps by an expression of outrage and an ineffectual cry for change.  In that sense, ''xiaopin'' wen can be said to have rejected one the basic tenets of the essay as a process of experimentation, questioning, reflection, and, indeed, essaying.  Too often, it gestures superficially to the analysis of an issue, only to come down heavily on an emotional response at the end.&lt;br /&gt;
&lt;br /&gt;
鉴于我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''xiaopin''wen可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 13:21, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这些作品加在一起，让我大开眼界，让我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品产生了兴趣，。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，“小品”文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:47, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
鉴于我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，小品文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:53, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
鉴于我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''小品''文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:53, 16 December 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
Yet, the four contributions to this chapter point out that there is a bigger world in the study of essays beyond ''xiaopin'' wen.  The essay can, as Mary Scoggin argues, be cantankerous, recalling the image of a spear and a dagger, where one piece of ''zawen'' is more likely to elicit an equally cantankerous response than to put an issue to rest. With good reasons, we describe such exchanges as ''pizhan'' (battling with the pen). The essay is also a site where the essayist can consciously sculpt an image of himself, as Lu Jie and Liu Xinmin show in the cases of Zhang Wei and Zhang Chengzhi.&lt;br /&gt;
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然而，本章所作的四个贡献指出，在小品文之外散文研究还有一个更广阔的世界。正如玛丽·斯科金所说，这篇文章可能给人不好的感觉，回忆时像一把长矛和匕首，其中一段“扎文”更可能引起同样不愉快的反应，而不是让问题得到解决。我们有充分的理由称这种交流为“笔战”。（用笔作战）正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，这篇文章也是散文家有意识地塑造自己形象的成果。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:22, 18 December 2020 (UTC)&lt;br /&gt;
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然而，本章所作的四个贡献指出，在小品文之外散文研究还拥有一个更广阔的世界。正如玛丽·斯科金所说，散文也可以尖锐凌厉，让人联想到长矛和匕首的形象，其中“扎文”更可能引起尖锐的反应，而不是使问题得到解决。我们有充分的理由将这种交锋称为“笔战”。正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，散文家也是会有意识地将散文作为塑造自己形象的场所。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 04:17, 19 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
Moreover, while one single piece of essay is indeed different from a treatise in that its brevity makes it ill-equipped to address an issue in great depth, essayists such as Zhang Wei and Zhang Chengzhi can resort to voluminous output, exhaustively exploring different shades of a question in one essay after another to build up a coherent position.  Wang Ban furthermore approaches the essay as a sensibility, or a structuring device, with which a writer tells and retells a story, puts forward a proposition and modifies or denies it.  As such, it replaces the novel as the form that best captures the consumerist ethos of urban China in the 1990s.&lt;br /&gt;
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虽然一篇文章与论文确实存在区别，其简洁性使其不具备解决问题的深度，但是如张伟和张承志一类的作者产出颇丰，详尽探索一篇篇文章中不同深浅的问题，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者可以通过文章来讲述或复述一个故事，提出一个命题，对其进行修饰或否定。因此，它取代了小说，抓住了20世纪90年代中国城市消费主义思潮。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 05:57, 20 December 2020 (UTC)&lt;br /&gt;
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尽管一篇论文的确与论文有所不同，因为篇幅简洁，无法充分解决一个问题，但张炜和张承志等作者却可以求助于大量论文，详尽地探讨了不同层次的论文，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者用它来讲述和叙述一个故事，提出一个命题并加以修改或否认。 因此，它取代了小说，成为最能体现90年代中国城市消费主义思潮。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 10:37, 20 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
Yet, if a literary genre can take up so many shapes and forms, are we still justified to consider these shapes and forms as a uniform entity, to be analyzed and studies with the same methodology ?  In my study of the essay, I have often been confronted with this question.  In the New England Association of Asian Studies conference in October last year I raised a similar query in response to the presentations of Alexandra Wagner, Martin Woesler and Xinmin Liu: in what way can we consider works as diverse as those of Feng Zhi, Qu Qiubai, and a group of other writers that we discussed that day as essays? Now, in light of the four papers of this chapter, I would like to ask the same question again. &lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
I will take the clue from Wang Ban when he considers the “polemic pole” for the essay, i.e., that which the essay stands against, and see whether we can understand what essay is but finding out what it is not.  At different historical junctures and in different cultural contexts, the essay has served as the voice of the opposition and the marginal.  Wang Ban has already alluded to Adorno’s “The Essay as Form” to underscore the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural conditions of reification, to which the essay stands in opposition.  Likewise, one can find a late twentieth-century parallel where the articulation of feminism and decolonization often takes the form of the essay.&lt;br /&gt;
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我将从王班思考文章的“论战极点”，即文章所反对的东西，来寻找线索，看看我们能否理解文章是什么，但找出它不是什么。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:19, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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我将从王班提出的文章的“论战极点”，即文章所反对的东西入手，看我们能否理解文章而不是发现它的局限。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:59, 17 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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[http://www.example.com link title]&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
Yet, in the Chinese context, even if we narrow it down to the last two decades of the twentieth century, it is not entirely clear what the polemic pole of the essay is.  Wang Ban believes that the polemical pole to contemporary Chinese essays to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of “revolutionary realism.”  For the zawen she is examining, Mary Scoggin suggests that ''zawen'' spits in the face of a “discourse of beauty” that serves to mute criticism in ''the'' name of  social and rhetorical graciousness, an attitude that essentially forbids ''zawen'' writers to say anything if they cannot think of something nice to say.&lt;br /&gt;
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然而，在中国的环境之下，即使我们把范围缩小到20世纪最后20年，也不能完全弄清楚散文的极点是什么。王班认为，当代中国散文的论极要确定为启蒙运动和马克思主义的心学史范式及其文学的对应物：&amp;quot;革命现实主义 &amp;quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对所谓“美的篇章”十分唾弃，以直白、朴实的语言来噎住批评，而这种态度实质上是禁止“杂文”作家在想不出好话时再说什么。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:49, 17 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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然而，在中国，即使把范围缩小到20世纪最后20年，也不能彻底弄清散文的论极是什么。王班认为，当代中国散文的论极应该定义成启蒙运动和马克思主义的心学史范式及其文学对等物：&amp;quot;革命现实主义 &amp;quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对&lt;br /&gt;
唾弃“美的篇章”，通过直白、朴实的语言来噎住批评，而这种态度实质上是防止“杂文”作家在想不出好话时再说些什么别的。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:23, 18 December 2020 (UTC)&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
Zhang Chengzhi, Xinmin’s subject, has made it abundantly clear that his essays are manifestations of a historical method that deconstructs Han chauvinism even as he has little by way of counter evidence to go by.  Like Wang Ban, Lu Jie also pits the essay against the novel, but for a different reason, and with findings intriguingly different from that of Wang Ban.  Wang Ban attributes the “metafictional” signs in Wang Anyi’s ''Shushu di gushi'' to the intrusion of the essayist sensibilities.  In other words, it is her essayist touch that accounts for the tentativeness of her narrative. On the other hand, Lu Jie succeeds in showing that Zhang Wei the novelist is much more tentative and equivocal than Zhang Wei the essayist.&lt;br /&gt;
《新民》的主体，张承志已经非常清楚地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。和王班一样，卢杰也把这篇文章与《红楼梦》对立起来，但原因不同，他的发现与王班的截然不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格造成了她的叙述的不确定性。另一方面，卢杰成功地展示了小说家张伟比散文家张伟更加犹豫不决和模棱两可。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:49, 16 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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张承志是《新民》的主人公，他非常直白地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。如同王班，陆杰也把这篇文章与《红楼梦》对立起来，但原因不同，并且他的发现与王班的完全不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格导致她的叙述带有不确定性。另一方面，陆杰成功地展示了一个事实——小说家张伟，比散文家张伟，更加犹豫不决，更加模棱两可。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:30, 17 December 2020 (UTC)&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
Even if one were to maintain that ''Jiuyue yuyan'', like ''Shushu di gushi'', is informed by the essayist sensibilities, one still has to consider why Zhang Wei’s essays are more categorical, and hence more simplistic and reductionist, in their assertion than the novel, whose meaning requires considerable teasing out.  What is one to make of this discrepancy between Wang Anyi and Zhang Wei?  What does it say about the two writers?  And what do they have to say, if anything, about the essay and the novel?&lt;br /&gt;
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即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都是受散文家的情感影响的，但我们还是要思考为什么张炜的散文在论断上比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？&lt;br /&gt;
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即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都受散文家的情感影响，但我们还是要思考为什么张炜的散文的论断比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？&lt;br /&gt;
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In various ways, our contributors also look into the self-image the essayists construct for themselves as they participate in the cultural polemics at the end of the century.&lt;br /&gt;
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在本世纪末的文化论战中，我们的撰稿人也从不同的角度审视了散文家为自己建构的自我形象。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:56, 16 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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在20世纪末的文化论战中，我们的撰稿人也从用不同的方法审视了散文家为自己建构的自我形象。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:29, 18 December 2020 (UTC)&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
Gone, apparently, is the supercilious pose of the ''xianshi'' essayist who, to paraphrase Lu Xun’s famous translation of Kuriyagawa Hakuson, “sits in a rocking chair by the stove in winter or puts on a bathrobe in summer to drink tea and chat casually with one’s good friends about things that do not give one a headache.”  Rather, as our contributors succeed in pointing out, headache is precisely what our essayists aim to provide.  Even though they also affect varying degrees of reclusivity or compromise, they always come back later to the polemic fray with renewed vigor. I have in mind such instances as Zhang Wei’s repeated claim to find a monastery in the mountains where he will study all by himself for a year even as he goes around giving advice to his readers on how best to resist the corrupting influences of mass culture.&lt;br /&gt;
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这显然是散文家高傲的姿势,套用鲁迅翻译Kuriyagawa Hakuson的一句话,“冬天坐在火炉旁的摇椅上或夏天穿上浴袍跟好朋友喝茶聊天不会让人头疼。相反，正如我们的撰稿人所说，散文集作者想让我们头疼。”即使他们有不同程度的隐逸或妥协，但他们总是在之后的论战中重新焕发活力。我记得这样的例子，张维反复声称要在山里找到一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐蚀影响。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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显然，“闲适”散文家那种傲慢的姿态已经消失了，套用鲁迅对厨川白村的著名翻译，&amp;quot;冬天坐在炉子边的摇椅上，或者夏天穿上浴袍，和好朋友喝茶闲聊，谈的都是一些不使人头痛的事情&amp;quot;。相反，正如我们的撰稿人所说，头痛正是要由我们的散文家提供。即使他们也会不同程度地影响到隐忍或妥协，但他们后来总是以新的活力重新回到论战中来。我想到的就是这样的例子，比如张炜反复声称要在山里找一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐化影响。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:37, 18 December 2020 (UTC)&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
Similarly, the ''zawen'' writer distance themselves from the overtly declamatory tone with the sole purpose of making their gripes more readily stomachable, and their voices more readily heard.   Zhang Chengzhi’s temporary withdrawal into religious isolation is another example, for, after a brief period of reclusivity, he enters once again the public sphere with deeper conviction and a broader agenda.  In light of Wang Ban’s discussion, Wang Anyi’s case is perhaps less clear-cut than the rest.  To be sure, she seems to have adapted rather well to the new consumerist society that commodifies literature; yet, it is clear that there is a serious intent in her deployment of the essayist sensibilities. &lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
In fact, to the extent that ''Shushu di gushi'' has challenged the master-narrative with which the life’s progress of a rehabilitated rightist is often told, I would argue that the essayist sensibilities, far from being irrelevant to history, can be put to historical use.  The works of Zhang Wei, Zhang Chengzhi and Shao Yanxiang can perhaps supply us with a footnote to the historical relevance of the essay.&lt;br /&gt;
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'''The 20th Century Chinese Essay - Characteristics, Actors, and Trends'''&lt;br /&gt;
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''Martin Woesler''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
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In the first part of my paper, which deals with the characteristics of the essay, I will start with a definition of the essay as a non-fictional subjective representation in a free form: “Essay”, in Chinese mostly ''sanwen'' 散文, is a genre term for shorter, self-contained nonfictional prose texts, in which the author tries to mediate individual experiences on an object or a question using a subjective I-perspective.&lt;br /&gt;
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其实，在某种程度上，《叔叔的故事》挑战了万能叙事模式，这种模式通常讲的是改造后的右翼分子生活得到了改善。在我看来，散文家的敏感性绝不是与历史无关的，它可以用在历史上。张伟、张成志、邵延翔等人的作品或许可以为这篇文章的历史关联性提供一个注脚。&lt;br /&gt;
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'''20世纪中国论文--特点、角色及其趋势'''&lt;br /&gt;
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''Martin Woesler''&lt;br /&gt;
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'''摘要'''&lt;br /&gt;
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本文第一部分论述散文的特点，首先，我将散文定义为一种自由形式的非虚构性主观表征。&amp;quot;Essay&amp;quot;，中文为''散文''，指较短的、自成一体的非虚构性文体，其作者试图用主观的“我”的视角来表达个人对某一对象或问题的体验。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:57, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
I will introduce the hypothesis that the Chinese and the Western essays belong to the same international genre and try to prove it by showing cross-cultural similarities both in form and content. However, there are special local characteristics of the Chinese essay, which I will name.&lt;br /&gt;
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In the second part, I try to narrate the beginnings of the rediscovery of the essay in the early 1980s. Not before 1995 did international scholarship start to use common philological methods to explore single essayists or the essays of groups and to write a history of the Chinese essay. Then I will show the topical development of political and apolitical essays.&lt;br /&gt;
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In the third part, I will ask, who were the major players in the Chinese essayism of the 20th century? &lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
I will introduce Lu Xun, with his sharp, polemic subgenre for daily-political use, the ''zawen''. Analysis reveals that he still remains the most-read essayist, not because of his ''zawen'', but because of his reminiscences and lyrical essays. Using the examples of the most often reprinted essays, “The Back View” (Zhu Ziqing 1928b), “The Moonlit Lotus Pond” (Zhu Ziqing 1927), “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924), “Wild Vegetables of my Home Region” (Zhou Zuoren 1925), “Listening to the Cold Rain” (Yu Guangzhong 1974) and “In Memoriam of Xiao Shan” (Ba Jin 1979b), I will show that moving essays form the top tier of the genre. I will also try to stimulate further analytic works by giving hints for examples of promising intertextual and intersubjective comparison.&lt;br /&gt;
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我介绍一下鲁迅尖锐的、供日常政治使用的议论性子文--杂文。分析发现，他之所以仍然是作品传阅最广的作家，不是因为他的杂文，而是因为他的回忆文和抒情散文。我将从这类体裁的经典代表作中予以说明，以再版次数最多的散文为例，《背影》（朱自清1928b）、《荷塘月色》（朱自清1927）、《桨声灯影里的秦淮河》（朱自清1924）。&amp;quot;故乡的野菜&amp;quot;（周作人1925年）、&amp;quot;听听那冷雨&amp;quot;（余光中1974年）和 《怀念萧珊》（巴金1979b）。我还将试图通过文本间和主体内的比较，来促进进一步的分析。&lt;br /&gt;
--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 09:50, 20 December 2020 (UTC)&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
In the fourth section, I will name contemporary trends in essay writing. After the Cultural&lt;br /&gt;
&lt;br /&gt;
Revolution essays came from the perspective of an authentic eye. In the 1980s and especially in the 1990s, individualism demanded a critical reflection on the satisfaction of personal consumption needs and tried to give a personal orientation, as essayists pleaded for moral virtues. Other essays in the 1980s and 1990s were written with a kind of new subjectivism, targeted away from contemporary contradictions but appealing to the feelings of the audience by creating either a positive or a negative world. &lt;br /&gt;
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The fast-paced nature of current Chinese society demands diverting and short texts. There is also increasing consciousness of individuality, for which the essay is the most direct form of subjective expression, even more direct than the poem which is mediated by its metrical and formal demands.&lt;br /&gt;
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在第四部分，我将列举当代散文写作的趋势。在文革之后，散文变得写实。尤其是在20世纪80年代和90年代，个人主义对个人消费的满足进行反思；像散文家呼吁美德一般，他们也尝试提供人生导向。其它20世纪80年代和90年代的散文以新主观主义写作，不再聚焦当代矛盾，而是创造出一个或是积极或是消极的世界来和读者产生共鸣。&lt;br /&gt;
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当今中国社会快节奏的本质需要有趣且简短文本。人们对个性也越来越关注，而散文就是最直观的个人表达形式，诗歌与之相比还受到了格律和形式的限制。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 00:57, 18 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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第四部分，我将阐述当代散文写作的趋势。文革后，散文开始写实。从20世纪80年代开始，尤其是在90年代，个人主义对个人消费需求的满足进行批判性的反思；正如散文家呼吁美德一般，他们也尝试提供人生导向。八九十年代的其他散文则以新的主观主义作为写作目标，不再聚焦当代矛盾，而是通过营造一个积极或消极的世界和读者产生共鸣。&lt;br /&gt;
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当今中国社会快节奏的特点要求文字有趣而简短。人们的个性意识也在不断增强，而散文是最直接的主观表达形式，甚至比要求以格律和形式为中介的诗歌更加直接。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:40, 18 December 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
In China we see a renewed interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s and 30s. We become conscious of the banality of daily life when it is being used as a literary topic, as in the essay, which most commonly treats the genre of everyday life. The de-ideologization of Chinese society led to a rediscovery of the apolitical essays, dating from the Republican era, especially from the years 1923 to 1928. In the 1990s, the essayistic culture of political criticism of the 1980s has vanished; the only political relic is patriotism, for example expressed in the monograph published in 1996, ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).&lt;br /&gt;
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在中国，我们能看到如同二十世纪二十年代至二十世纪三十年代，通过论文这一媒介，人们又有了兴趣讨论社会政治问题。当日常生活被用作文学主题时，我们就会意识到其平庸，就像在散文中一样，散文通常是针对日常生活的体裁。中国社会的去意识形态化，导致了民国时期，特别是1923 - 1928年的非政治性散文的重新发现。20世纪90年代，80年代政治批评的散文式文化消失了;唯一的政治遗迹是爱国主义，例如1996年发表的专著《中国可以说不!》-冷战后政治和情感的可能性”(见《中国可以说不》!)''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:35, 17 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
&lt;br /&gt;
'''1.	CHARACTERISTICS&lt;br /&gt;
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1.1	Defining the essay as a non-fictional subjective representation in a free form'''&lt;br /&gt;
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Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with ''xiaoshuo'' (fiction), sanwen (here in the broader meaning non-fictional prose)), lyrics ''shige'' (lyrics) and ''xiqu'' (drama).  Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term “''wu yunwen''” which corresponds to the term “epic” in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.  In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.&lt;br /&gt;
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1. 特征&lt;br /&gt;
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1.1将本文定义为一种非虚构的主观自由表现形式&lt;br /&gt;
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与国际文学类似，中国文学的基本细分一般是三类：史诗（小说、散文（这里指广义的非虚构散文））、诗歌和戏剧）。虽然没有纯正的史诗形式，但小说和散文常常被合称为中文的“无韵文”对应西方的“史诗”一词。从性质上看，这几种类型可以大致区分为以下几种。在史诗中，过去的事件被重述，一个宽广的、充实的故事占据了重要位置。在歌词中，鼓励读者去感受诗人当前的感觉，往往是告白式的感受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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'''1. 特征&lt;br /&gt;
&lt;br /&gt;
1.1 将散文定义为一种非虚构的主观自由表现形式'''&lt;br /&gt;
&lt;br /&gt;
和国际文学一样，中国文学一般细分为三类：即史诗（包括小说、散文（这里指广义的非虚构散文））、诗歌和戏剧。小说和散文虽然没有纯正的史诗形式，但人们通常把他们合称为“无韵文”，这里中文的“无韵文”对应西方的“史诗”一词。这三种类型从本质上来说大致可以通过以下方式来区分：在史诗中，过去的事件被重述，一个广阔充实的故事主导了前景。在诗歌中，鼓励读者去感受诗人当时告白式的感觉。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 12:14, 17 December 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it.  The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.&lt;br /&gt;
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“Essay,” Chinese mostly ''sanwen'' 散文 , is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective.  This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form.  The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously.  Free-dom in form and content is essential for the essay.&lt;br /&gt;
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该剧直接在独白或对话中唤起了一个独立的情节，并以此减轻了读者/观众的创造性想象力。 这篇散文作为史诗体裁的文章是一种自由形式的超脱的非虚构主观表现形式。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)&lt;br /&gt;
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“Essay”的中文即散文，主要是较短的、自成体系的非虚构散文的流派，作者试图从主观角度调解对象或问题的个人经验。 这样，从不同方面进行了关联性的尝试，而不是作为日常使用的文本，而是通过艺术或教育上要求苛刻的语言手段进行了尝试，但仍以可访问的形式进行。 散文内容完全由散文家掌握，并且可以在更大的范围内了解主旨，甚至可以幽默地对其进行介绍。 形式和内容的自由对散文来说至关重要。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily.  On the other hand, subcategoring the essay in too many small entities, questions the sense of such subdivisioning in reference to hermeneutic findings.  One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.&lt;br /&gt;
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Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.&lt;br /&gt;
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不同的观点在国际类型的文章：体裁主要是文学的分工，通过文学的学术专门思考，为了能够更容易地比较类似的文本。另一方面，在太多的小实体中对这篇文章进行了归类，在解释学的发现中质疑了这种划分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，这仍然是一个及时的问题，即使它在国际上被接受。&lt;br /&gt;
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地域差异对文章的重要性似乎不如对短篇小说、小说等已有的体裁那么大，而对诗歌的重要性则要小得多。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:45, 18 December 2020 (UTC)&lt;br /&gt;
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对于文章的国际体裁存在不同的观点：体裁主要是文学的分类，通过对文学进行专门的学术研究，能够更容易地对比相似的文本。另一方面，在太多小实体中进行更小的分类，在解释学的发现中质询了这种细分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，即使它在国际上得到认可，这仍是一个及时的问题。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:20, 20 December 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
All these other genres are seen as international genres.  My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.&lt;br /&gt;
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In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization.  The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. &lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
This is a second hint that the modern Chinese essay belongs to the international genre of the essay. Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay). &lt;br /&gt;
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The choice of the term “''sanwen''” instead of “''suibi''” (familiar essay) or “''xiaopin wen''” (short literary piece) is of course arbitrary, but it corresponds to the present usage. In about 200 essay collections and histories between 1949 and 1996 known to the author, ''sanwen'' turned out to be the common expression, ''xiaopin'' was used only in one out of 25 essay titles of the PR China, in one out of 14 Taiwanese, and one out of ten Hong Kong publications.（文献无需翻译）&lt;br /&gt;
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这是中国现代散文属于国际散文文体的第二个暗示。尽管写“短故事”的&amp;quot;短篇小说&amp;quot;的翻译被普遍接受，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。&lt;br /&gt;
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当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:16, 17 December 2020 (UTC)&lt;br /&gt;
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这是中国现代散文属于国际散文文体的第二个表现。尽管大众普遍接受“短故事”和&amp;quot;短篇小说&amp;quot;的翻译，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。&lt;br /&gt;
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当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 18 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it “Chinese”? In the occidental essay the ''form'' seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework. This can be shown with Cheng Ming-Lee, who subcategorises the “unfinished diary” or the “unfinished letter”.  Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works.  Only after they have been altered into essays (Cheng Ming-Lee: “essay in diary form” and “essay in letter form,” see Cheng Ming-Lee), they are accepted as essays.&lt;br /&gt;
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周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中文杂文还具有地方特色。 中文杂文如何在文化上定义，是什么让其更加“中国化”？ “形式”在西方杂文里，比在中文散文中，更为一个重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:44, 17 December 2020 (UTC)&lt;br /&gt;
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周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中国散文还具有地方特色。从文化上来看，如何定义中国散文，是什么让其更加“中国化”？与中国散文相比，“形式”在西方散文中似乎是更为重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:23, 17 December 2020 (UTC)&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
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This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén''“non-rhythmic prose,” which originally meant all non-fictional prose.  In this broader meaning, also texts for personal or everyday use are included.  However I deal only with ''sanwen'' in the narrower meaning “short literary essay pieces”.&lt;br /&gt;
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Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.&lt;br /&gt;
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这种对中国论文的倾向性更广泛的理解可以直接追溯到“sanwen（散文）”一词的中文含义：“wúyùnwén（无韵文）”，“非韵律散文”，它最初是指所有非虚构的散文。 在这种更广泛的含义上，它还包括个人或日常使用的文本。 但是，我只用狭义的“散文”来处理“sanwen”。&lt;br /&gt;
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进一步的区别是，中国散文往往具有思想内涵，并表现出重复性和俗语性等风格特征。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:46, 16 December 2020 (UTC)&lt;br /&gt;
在中国，这种对散文更广泛理解的趋势，可以直接追溯到“散文”一词在中文里所具有的内涵:“无韵文”“非韵律散文”，最初指的是所有非虚构的散文。在这个更广泛的意义上，个人或日常使用的文本也包括在内。但我说的“散文”只是狭义的“短篇小片段”。进一步的区别是，中国散文往往具有思想内容，并表现出重复、用语等文体特征。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:53, 16 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
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'''1.2 I will describe the beginnings of the discovery of the essay.'''&lt;br /&gt;
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Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.  &lt;br /&gt;
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In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).&lt;br /&gt;
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'''1.2我将介绍发现散文的开端'''&lt;br /&gt;
从1979年开始，虽然散文写作增多，但却在十年之后才首次产生对这一现象的理论思考。又过了十年，国际汉学界才开始意识到散文现象。 &lt;br /&gt;
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20世纪80年代，中国学术界首次以撰写散文史和收集散文的方式对散文文学进行重大的反思，这些反思首先集中在鲁迅等个别作家的散文作品上。另外，90年代的两次散文会议也没有显示出国际学术研究的动向。1995年以后，国际学术界才开始使用共同的语言学方法来探讨单个散文家（关于梁漱溟[梁锡华] 库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或群体散文家的散文（ 关于新月派 &amp;quot;瓦格纳 1996年）。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 07:53, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''1.2我将介绍散文是如何开始发现的'''&lt;br /&gt;
尽管从1979年开始，散文作品有所增多，但对这一现象的理论反思却用了十年的时间才首次出现。又过了十年，国际汉学界才开始意识到散文现象。&lt;br /&gt;
&lt;br /&gt;
20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这些反思首先聚焦于鲁迅等单一作者的散文作品上。另外，90年代的两次散文论坛也没有显示出朝国际学术研究发展的动向。直到1995年以后，国际学术界才开始使用普遍的文献方法来探讨单一散文家（关于梁漱溟[梁锡华]库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或团体散文家的散文（关于新月派 &amp;quot;瓦格纳1996年）。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:48, 19 December 2020 (UTC)&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
&lt;br /&gt;
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998). For the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, see Lau/Goldblatt, ''Modern Chinese Literary Thought'' 1996, see Denton).&lt;br /&gt;
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Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.  In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th.&lt;br /&gt;
直到90年代后半期，才开始用西方语言学的手段研究中国散文（吴莫汀 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文 《中国现代文学思潮》1996，见丹东）。&lt;br /&gt;
中国台湾和西方对散文的重视存在着地区差异。在美国，人们往往按照西方人的口味来选择散文，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜中，鲁迅排行第16位。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 15:44, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
直到90年代后半期，才开始用西方语言学的手段研究中国散文的历史（Woesler 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文，《中国现代文学思潮》1996，见丹东）。&lt;br /&gt;
中国台湾和西方对散文的重视存在着地区差异。在美国，散文往往按照西方人的口味被人们选择，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜调查中，鲁迅排在第16位。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 03:13, 18 December 2020 (UTC)&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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If one only take modern authors into account, he even ranks 12th.  Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode, 50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.&lt;br /&gt;
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Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation. Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai [announced]) or already published (Pollard 1999, Woesler 2000). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. Most of the contributors to the collection in hand met in 2000 on a first international conference on the essay.&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
&lt;br /&gt;
In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.&lt;br /&gt;
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'''1.3 20th Century Development and Hindrances'''&lt;br /&gt;
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The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.&lt;br /&gt;
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在未来，新的《波恩中国文学史》将给这篇文章一个合适的位置，它将有两到三卷专供《比集》、《酉集》和其他文章的专供。&lt;br /&gt;
“1.3 20世纪的发展与阻碍”&lt;br /&gt;
政论散文的专题发展经历了一个从1907年启蒙教育散文到20世纪30年代日政散文的转变，再到20世纪40年代的抗日宣传和20世纪50、60年代的思想宣传。在20世纪80 - 90年代，日常兴趣政治的讨论比20 - 30年代要少。在20世纪80年代所有类型包括诗歌和散文为意识形态服务，被评论家用于反对关于共产主义的叙述或毛泽东主义的艺术理解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:39, 18 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. (Yu Guangzhong's essay “The Wolves are Coming” shows that the ideological perspective did not only harm mainland essaywriting, see Yu Guangzhong 1977.) The essay seems to be the only genre in China which has kept its educatio-nal claim with the exception of essays which claim to be “art pourt l'art”.&lt;br /&gt;
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I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.&lt;br /&gt;
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而在20世纪80年代，政治问题在关于最佳社会制度的讨论（也在一般文学和电影中）中复兴。到了20世纪90年代，散文家们重新定义了自己的角色，首先是与大众的消费取向相对应。（余光中的散文《狼来了》表明，意识形态的视角不仅仅破坏了大陆的散文创作，见余光中1977年）。这篇散文似乎是中国唯一一个保持其教育主张的体裁，除了那些号称“艺术的散文”。&lt;br /&gt;
我提到了缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，认为许多中国散文只是宣传。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:17, 18 December 2020 (UTC)&lt;br /&gt;
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划词翻译&lt;br /&gt;
20 世纪 80 年代，在讨论社会的最佳制度时，政治问题又出现了复苏，(也包括在一般的文学和电影中) 在 20 世纪 90 年代变成了纯粹的非政治性和更具哲学性的-道德主题，在那里，散文家定义了他们的角色，首先是要与大众的消费取向相对应。余光忠的“狼来了”一文表明，意识形态的视角不仅损害了中国大陆的文学创作，参见余光中 1977 年的作品) 似乎是中国唯一保留其教育主张的体裁，但主张“艺术是艺术”的论文除外。&lt;br /&gt;
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我提到缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，许多中国的文章只是宣传。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:50, 18 December 2020 (UTC)&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
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This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove.  This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.  In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts.  Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.&lt;br /&gt;
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在20世纪40年代甚至50年代，这可能是真的，但如今，正如绝大多数出版物所证明的那样，情况已经改变了。这需要更仔细的观察:自1949年以来,在政治上积极的文学一直在政府的鼓励下,导致了统计上的悖论:在20世纪90年代的散文家中，大多数人不是持肯定态度的作者而是持批判态度的散文家，他们的文章是非政治的、有时甚至带有挑衅特征，以此来反对为政治服务的秩序。在20世纪90年代，中华人民共和国二三十年代的文本仍然和当代中国的文本一样被重印。显然，我们可以得出这样的结论:20世纪50年代的政治肯定随笔只存在于特殊的政治随笔集中，在21世纪初，当代著名作家的作品和中国读者的阅读都将不复存在。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:22, 17 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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In restrictive regimes, where freedom of speech is not guaranteed, people still have different political ideas.  To speak out directly is unhealthy, so in these countries people use art to express their differences. The most direct way of expressing political ideas in art is literature.  To trick the censors, one must find indirect ways of expression.  In an exhibition of ''Tendency Quarterly'', 16 banned Chinese magazines were displayed.  Most of the magazines choose the poem as their favorite form to express political thoughts.  After having been banned, some magazines went abroad and now are published in exile.  The internet has added a number of underground magazines, which are available also inside mainland China.  In the last years of the 20th century, one can find an increase of essays in these magazines. This might be a hint, that the authors dare to speak out more directly.&lt;br /&gt;
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在限制体制下，言论自由得不到保障，人们仍然有不同的政治观点。直接说出来是不健康的，所以在这些国家，人们用艺术来表达他们的差异。艺术中表达政治思想最直接的方式是文学。要骗过审查者，人们必须找到间接的表达方式。在“趋势季刊”展览中，展出了16本被禁的中文杂志。大多数杂志选择诗作为他们最喜欢的表达政治思想的形式。在被禁之后，一些杂志社搬到了国外，现在以流亡的方式出版。互联网增加了地下杂志数量，这些杂志也可以在中国大陆境内阅读。在20世纪的最后几年里，人们可以在这些杂志上发现散文数量越来越多了。这可能是一个暗示，暗示作者敢于更直接地表达出来。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:23, 17 December 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
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The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (“On Dreams,” see Zhu Ziqing 1928c) and Zhou Zuoren from 1917 (''My Own Garden'' 1923, “The Fly” 1924, “Reading on the Toilet” 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.&lt;br /&gt;
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非政治性散文在话题上的发展开始于1917年，当时朱自清（见朱自清1928年《说梦》）和周作人（1923年《自己的园地》、1924年《苍蝇》、1936年《在马桶上读书》）谈论的是日常话题，到1927年尾声，政治性散文成为主流，30年代末，非政治性散文在抗日运动中彻底淘汰。直到20世纪70年代，生活步入常态化，这一时期长期不受关注的日常事物反而成为了人们感兴趣的话题，非政治性散文由此得以恢复。同样在90年代，也由于人们对政治问题不怎么感兴趣，加上在大众消费主义的新世界中需要全新的定位，非政治性散文蓬勃发展起来。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:39, 19 December 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
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'''2. Actors: Lu Xun, Zhu Ziqing, Ba Jin, Wang Zengqi, Yu Guangzhong'''&lt;br /&gt;
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Who were the major players in the Chinese essayism of the 20th century?&lt;br /&gt;
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Here is not the place to recount the struggle, which many of the today well-known heroes of the May-Fourth Movement had to establish their literary values and narrative. Unlike today, at that time the authors were also editors and publishers of magazines and therefore had a strong position in the cultural field.&lt;br /&gt;
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One thinks first of Lu Xun, who invented a sharp, polemic subgenre for daily-political use, the ''zawen''. In his own, broad understanding of ''zawen'', it could contain poems, short stories, drama etc. From a genial writer of short stories, he turned to ''zawen'' for the rest of his life, leaving behind a legacy of more than 700 essays.&lt;br /&gt;
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'''2、参与成员：鲁迅、朱自清、巴金、汪曾祺、余光中'''&lt;br /&gt;
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20世纪中国散文的主要参与者是谁？&lt;br /&gt;
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这里不是叙述谁于争雄的地方，而当今许多著名的五四英雄人物必须确立自己的文学价值观和叙事方式。与现在不同的是，当时的作者同时也是杂志的编辑和出版商，因此在文化领域有着很强的地位。&lt;br /&gt;
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人们首先想到的是鲁迅，他发明了一种尖锐的、具有争议性的日常政治用的亚体裁，即''杂文''。在他自己对''杂文''的广泛理解中，它可以包含诗歌、短篇小说、戏剧等。他从一名亲切的短篇小说作家转向了一名撰写''杂文''的作家，留下了700多篇文章。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:02, 17 December 2020 (UTC)&lt;br /&gt;
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'''2. 参与者：鲁迅、朱自清、巴金、汪曾祺、余光中'''&lt;br /&gt;
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20世纪中国散文的主要人物有哪些?&lt;br /&gt;
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这里不会讲述这场斗争，当今许多著名的五四运动英雄不得不建立他们的文学价值和叙事。与当今不同的是，当时，作者同时也是杂志的编辑和出版人，因此在文化领域有很高的地位。&lt;br /&gt;
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人们首先想到的是鲁迅，他为日常政治生活创造了一个尖锐的、争论不休的亚文体——''杂文''。在他广义理解中，''杂文''包括诗歌、短篇小说、戏剧等。他从一个和善的短篇小说作家，转向成为《杂文》作家，终其一生，留下700多篇散文。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:30, 17 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
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During his lifetime, with his sharp attacks, he was the most known essayist. But these essays were of daily-political interest only and are seldom read today. Analysis reveals now that he stills stays the most often read essayist until the end of the 20th century. Not his ''zawen'', but the following reminiscences and lyrical essays remain until the end of the century in the top-ten list of essays: “Autumn Night” (Lu Xun 1925b), a lyrical essay from ''Wild Grass'', in “Mr. Fujino” (Lu Xun 1926c), Lu Xun remembers his Japanese teacher, in “The Kite” (Lu Xun 1925a) he remembers how he hurted his younger brother's feelings once, and “From Hundred Plant Garden to Three Flavour Study” (Lu Xun 1926b), which recounts his childhood experience also with classical literature.&lt;br /&gt;
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在他的一生中，他以尖锐的攻击力成为最著名的散文作家。但是他的这些散文仅仅是处于日常的政治兴趣，在今天很少有人阅读。分析表明，到20世纪末，他的作品仍然是阅读得最多的。直到本世纪末，保留下来的并非是他的杂文，而是以下的回忆录和抒情散文：《野草》中的一篇抒情散文《秋夜》（鲁迅 1925），在《藤野先生》（鲁迅 1926）中，鲁迅仍然记得他的日语老师，在《风筝》（鲁迅 1925）中，鲁迅记得他曾经是如何伤害他的弟弟的，在《从百草园到三味书屋》（鲁迅 1926）中，鲁迅叙述了他的童年经历和经典文学。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:02, 20 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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The other most often printed essays are from Republican or modern times: The first is “The Back View” (Zhu Ziqing 1928b). With his whole work, this author ranks shortly behind Lu Xun. From this and other essays one can derive the criteria for essay best sellers in the P.R. of China: In “The Back View,” filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous “The Moonlit Lotus Pond” (Zhu Ziqing 1927), also written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader. In “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924) the author describes a beautiful landscape and makes ancient customs alive again. Nostalgic home feelings are the emotional identification element in “Wild Vegetables of My Home Region” (Zhou Zuoren 1925).&lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
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Yu Guangzhong is represented in this list with the nostalgic “Listening to the Cold Rain” (Yu Guangzhong 1974). In Ba Jin's most often reprinted essay “In Memoriam of Xiao Shan” (Ba Jin 1979b) he remembers his wife. &lt;br /&gt;
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Works of authors who decided to serve an ideology are far less often reprinted than the eight authors found to be leading: Mao Dun and Guo Moruo (rank 15) are mentioned in the average as seldom as Lu Xun in Taiwan and Yang Shuo (ranks 30) appears only half as often.&lt;br /&gt;
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Therefore one can state, that unpolitical, moving essays form the top.&lt;br /&gt;
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For a list of the 36 most often (re)printed essayists, and the top 59 essays please see the mentioned monograph (Woesler 1998b).&lt;br /&gt;
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余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。&lt;br /&gt;
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决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。&lt;br /&gt;
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因此，我们可以说，非政治性的、感人的文章占据了榜首。&lt;br /&gt;
&lt;br /&gt;
有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 03:35, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。&lt;br /&gt;
&lt;br /&gt;
决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。&lt;br /&gt;
&lt;br /&gt;
因此，我们可以说，非政治性的、感人的文章囊获了榜首。&lt;br /&gt;
&lt;br /&gt;
有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
&lt;br /&gt;
The huge number of essays and essayists offer many possibilities for intertextual and intersubjective comparison, out of which only some thoughts can be indicated here due to lack of space. They might stimulate further analytic works. Lu Xun, Zhou Zuoren and Zhu Ziqing wrote about the same occasion, the massacre on March 18, 1926 quite differently. Zhu Ziqing attacks the government directly and promises it a soon collapse (“Report of the Government’s Great Massacre,” Zhu Ziqing [1926]). Lu Xun described the massacre in an unctuous chant instead (“Jinian Liu Hezhen jun” Lu Xun 1926a), and Zhou Zuoren bitter-humorously in his essay “Different Ways to Die” (Zhou Zuoren 1926).&lt;br /&gt;
&lt;br /&gt;
Different ways of coming into terms with the 'Cultural Revolution' we can see in the essays of Ba Jin, Bing Xin, and Wang Meng: Ba Jin enlucidated unsparingly to the extend of self-accusation (Ba Jin 1979a).&lt;br /&gt;
&lt;br /&gt;
大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃(朱自清《政府大屠杀报告》[1926])。鲁迅用虚情假意的歌谣(《纪年刘和真君》鲁迅1926a)描述了这次大屠杀，而周作人则在他的散文《不同的死法》(周作人1926)中诙谐而辛辣地描写了这次大屠杀。&lt;br /&gt;
&lt;br /&gt;
从巴金、冰心、王孟等人的文章中，我们可以看到巴金对“文化大革命”的几种不同的看法:巴金的狂热达到了自我谴责的程度(巴金1979a)。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:43, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
大量的散文和散文家为互文性以及主体间性的对比提供了多种可能性。但由于篇幅有限，这里只能展示一部分想法。它们或许能够激发进一步的分析作业。鲁迅、周作人和朱自清都描写过同一场景，1926年3月18日的大屠杀，但是描绘的手法不尽相同。朱自清正面攻击政府，并断定它不久就会垮台（《执政府大屠杀记》朱自清 1926）。而鲁迅用谄媚的诗歌描述了这次大屠杀（《几年刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。&lt;br /&gt;
&lt;br /&gt;
从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：巴金不遗余力地自我谴责（巴金1979a）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 07:38, 18 December 2020 (UTC)&lt;br /&gt;
大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃。而鲁迅用谄媚的诗歌描述了这次大屠杀（《纪念刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)&lt;br /&gt;
从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：在自我批评方面，巴金对自己毫不手软。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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Wang Meng dealed with it humorously (Wang Meng 1980), Bing Xin tried to pretend continuity by naming her works after the 'Cultural Revolution' with the same titles as before: The successful collections ''Letter to the Children'' (Bing Xin 1931), and ''Letter to the Children, vol. 2'' containing texts since 1958, were followed by ''Letter to the Children, vol. 3 ''with texts since 1978. In her “Autobiographical Notes” (Bing Xin 1982) she simply skips the 'Cultural Revolution'.&lt;br /&gt;
&lt;br /&gt;
A trip in early August 1923 (Mei/Wu, 46) with Yu Pingbo to the Qinhuai river, which Zhu knew from an earlier visit (Chen Xiaoquan, 68), inspired both to write in the same year at the age of about 24 and 26 an essay with the title “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing dated 10/11, 1923, Yu Pingbo dated 8/22, 1923, jointly published in ''Eastern Miscellany''), an English translation by Hu Shiguang can be found in ''Chinese Literature'' 1 (Spring 1988) Yu 162-172, and Zhu 173-182 resp. Zhu Ziqing and Yu Pingbo continue here a tradition of Chinese poets, writing poems on a common experienced journey to compete with each other. I found, that Zhu Ziqing's essays is more persuading.&lt;br /&gt;
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王萌幽默地处理了这一问题（王萌1980），冰心试图通过在&amp;quot;文化大革命&amp;quot;后用与以前相同的标题命名自己的作品来假装连续性：成功收藏了《给儿童的信》（冰心1931） ）和“给孩子的信，第一卷， 2”（包含自1958年以来的文字），其次是“给孩子的信”（第一卷）,3”自1978年以来一直使用文字。在她的“自传笔记”（Bing Xin 1982）中，她只是跳过了“文化大革命”。&lt;br /&gt;
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朱元培在1923年8月上旬（梅/吴，46岁）与秦淮河的一次旅行（陈小泉，68岁）认识了秦淮河，这激发了双方在同年24岁左右写诗的初衷。 26一篇题为“在秦淮河上泼桨和灯笼光”的文章（朱自清1923年10月11日，于平波1923年8月22日，在《东方杂记》上共同出版），英文翻译胡世光的著作可以在《中国文学》 1（1988年春季）中找到Yu 162-172和Zhu 173-182。朱自清和余平伯在这里延续了中国诗人的传统，在经历了共同竞争的共同经历中创作了诗歌。我发现朱自清的论文更具说服力。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:22, 17 December 2020 (UTC)&lt;br /&gt;
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王蒙幽默地处理了这一问题（王蒙1980），冰心试图以'文革'后的作品命名，标题与以前相同，以假装连续性。成功的作品集《给孩子们的信》（冰心1931年）和《给孩子们的信，第二卷》收录了1958年以来的文字，随后又出版了《给孩子们的信，第三卷》，收录了1978年以来的文字。在她的《自述》（冰心1982）中，她干脆跳过了'文革'。&lt;br /&gt;
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1923年8月上旬（梅/武，46）与俞平伯到秦淮河游玩，朱自清早年曾到过秦淮河（陈孝全，68），激发了两人的灵感，两人在同年分别约24岁和26岁时写了一篇题为《秦淮河上的溅桨和灯火》的文章（朱自清10/11。1923年，俞平伯日期为1923年8月22日，合刊于''东方杂记''），胡世光的英译本见''中国文学''1（1988年春）俞162-172，朱173-182 resp。朱自清和俞平伯在这里延续了中国诗人的传统，在共同经历的历程中写诗，互相竞争。我发现，朱自清的文章更有说服力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:07, 17 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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Wang Meng, Jia Pingwa and others wrote essays entitled “Falling leaves” (Jia Pingwa 1981, Wang Meng 1989) on the transitoriness of life in the allegory of falling leafs. It is interesting and surprising to discover the similarity between  a, the differences between the description and interpretation of the falling leaves and  b, the differences between the different authors' self-understanding and philosophy. One may compare essays entitled “On dreams” with 58 years difference in their origin (Zhu Ziqing 1928c, Bing Xin 1986). Moreover it is interesting to compare conceptions of essayism as we can see in Lu Xun's theory of “emerging” and “blossoming” and Zhou Zuoren's theory of the synthesis of the gongan school and the English essay.&lt;br /&gt;
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王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，论述落叶寓言中生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，是很有意思的。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:11, 18 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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'''3.Trends&lt;br /&gt;
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3.1 The essay as a snapshot of contemporary thoughts'''&lt;br /&gt;
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What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.&lt;br /&gt;
&lt;br /&gt;
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth.  But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously.  This restricts the reported truth to a subjective one and bears the risk of a wilfully “corrected” truth.&lt;br /&gt;
3.潮流与趋势&lt;br /&gt;
“中国当代散文写作的现状如何?”&lt;br /&gt;
它的地位应该与后现代主义元素、后殖民主义思维、解构主义等最近的分类方法、视角和术语恰当地联系起来。&lt;br /&gt;
“文革”后散文增多，因为原因有两点：1.散文比其他文体更真实地表达个人经历的能力 2.它对历史真理的内在诉求。&lt;br /&gt;
但散文并不是客观真实的保证:它同时具有主观性，作者有意识地对自己的形象进行调整。&lt;br /&gt;
这就会导致所报道的真相只能是主观的，防止有人故意“篡改”真相。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:52, 18 December 2020 (UTC)&lt;br /&gt;
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3.趋势&lt;br /&gt;
3.1作为当代思想的快照的散文&lt;br /&gt;
中国当代散文创作的现状如何？它的定位应与后现代主义、后殖民主义、解构主义等现代理论方法、视角和术语保持适当的联系。&lt;br /&gt;
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“文革”后散文产量的增加，这可以用散文的能力来解释，因为它具有内在的历史真理诉求，比其他文体更真实地表达个人经历。但散文并不是客观真实的保证，同时它也是主观的，散文作者有意识地调整自己的形象。这就把报道的真相限制在主观上，并承担着故意“修正”真相的风险。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:55, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:53, 20 December 2020 (UTC)&lt;br /&gt;
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The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society.  In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (“Serene” Wang Meng 1992, “First make your own things in a good way” Wang Meng 1994). These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.&lt;br /&gt;
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共和时代的个人主义建立在站在历史转折点上的共同感觉的基础上，并朝着共同目标发展，例如创建新文学和新中国社会。 在1980年代，尤其是1990年代，个人主义要求对个人消费需求的满足进行批判性思考，并试图赋予个人取向，散文学家呼吁道德美德（“ Serene” Wang Meng 1992，“首先用自己的东西制造自己的东西）。 好方法”（王萌，1994年）。 这些论文主要发表在报纸和杂志上，在瞬息万变，匿名，疏远和消费导向的大众文化社会中被人们广泛阅读。&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (“Shanxi Opera,” Jia Pingwa 1984) or negative world (“The Nightmare,” Si Yu 1995).&lt;br /&gt;
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'''3.2 The essay as the genre of the giddy-paced nature of society, individuality, socio-political discussions, de-ideologization, everyday's profaneity and banality'''&lt;br /&gt;
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From the essay, we can see contemporary ''trends of literature'', which are also reasons for the increase in volume of this genre in the 1990s:&lt;br /&gt;
&lt;br /&gt;
-The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall, xiii);&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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-The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; &lt;br /&gt;
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-A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.&lt;br /&gt;
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-The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.&lt;br /&gt;
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-The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928.  This observation is supported by the results of the mentioned statistical analysis.  The mostly read political essays after 1949 are critical essays. For example Ba Jin complains in “Remembering Xiao Shan” (Ba Jin 1979b) about the death of his wife in the 'Cultural Revolution'.&lt;br /&gt;
&lt;br /&gt;
- 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；&lt;br /&gt;
- 通过散文重新唤起人们对讨论社会政治问题的兴趣，如20世纪20年代或30年代。&lt;br /&gt;
- 因成为文学话题，日常生活的平庸性变得有意识，最常见的是日常生活文体——散文。&lt;br /&gt;
- 中国社会的去意识形态化。今天，不是政府要求的肯定性文本，而是非政治性的散文在最前面，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。&lt;br /&gt;
&lt;br /&gt;
- 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；&lt;br /&gt;
&lt;br /&gt;
-通过这篇文章唤起人们对讨论社会政治问题的关注，如20世纪20年代或30年代的情况。&lt;br /&gt;
&lt;br /&gt;
-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。&lt;br /&gt;
&lt;br /&gt;
中国社会的去意识形态化。今天，不是政府要求的肯定性文本站在最前面，而是非政治性的文章，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治论文是批评文章。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:31, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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-Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain. This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation toward customers (former: “readers”). &lt;br /&gt;
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-In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in-dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
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In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see China can say no!).&lt;br /&gt;
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The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art. Also trends like the use of ordinary language, which one finds in novels since 1993 (Feidu, Jia Pingwa 1993; ''Ying'er'', Gu Cheng 1993) and ''New Borderlessness''  since 1995, cannot be proven in the essaywriting.&lt;br /&gt;
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20世纪90年代，80年代受到政治批评的散文文化已经消失，唯一留下的政治产物是爱国主义。例如，1996年出版的专著《中国可以说不——冷战后时代的政治与情感抉择》（见于《中国可以说不》）。&lt;br /&gt;
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从后现代主义小说的角度来看，我们找不到后现代散文的原因就是散文具有直接性。散文作为一种文体，是沟通作者和读者的桥梁，而不是一种艺术对象。通常艺术对象指企图引起不同的解读，或依靠独一无二的形式或内容，甚至引用前现代主义的特点使其成为一种独特的艺术对象。另外，1993年出版的小说《废都》（贾平凹 1993年）、《英儿》（顾城 1993年）以及1995年出版的《新无界》，作者在这些作品中日常语言的使用趋势在散文写作中也未得到体现。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
到20世纪90年代，80年代政治批评的散文文化已经式微，唯一留下的政治产物就是爱国主义。……我们之所以没有在后现代小说意义上找到后现代主义论文的原因在于散文的直接性：散文是一种作者与读者之间对话的体裁，而不是一种引起不同解读的艺术体，也不是依赖于独一无二的形式或内容，甚至是为使本身变得独特而引用前现代主义特征的艺术对象。……--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 16:04, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
&lt;br /&gt;
-Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being “The Small Dog Baodi” (Ba Jin 1981), in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (“In Memoriam of Xiao Shan II,” Ba Jin 1984b). Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Wang 1992), helpful for the reading of “Rain in Kunming” (Wang Zengqi [1984]) as well as for “Shanxi Opera” (Jia Pingwa 1984). &lt;br /&gt;
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1 Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.&lt;br /&gt;
&lt;br /&gt;
2 Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay “The Nightmare” (Si Yu 1995), where the author appears as a deconstructionist, the I-narrator even is drawn near to suicide.&lt;br /&gt;
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老舍，茅盾和沈从文作品中呈现的虚构现实主义也被证明有助于理解某些文章，例如文章《小狗包弟》（巴金，1981）中，作者不再像以前那样叙述事实，（如《萧山回忆录》，巴金，1984b）。两者都是对过去的回忆，也就是王在沈从文作品中提出的虚构的真相（David Wang，1992），它有助于阅读《昆明的雨》（王增琪[1984]）和《山西歌剧》（贾平瓦（1984）。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:03, 20 December 2020 (UTC)&lt;br /&gt;
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另外，王德威在老舍、茅盾和沈从文身上看到的虚构现实主义，也证明了对一些文章的理解是有帮助的。例如，在《小狗包弟》（巴金1981）一文中，作者变成了一个叙述者，用寓言式而不是像以前那样用描述性的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984b）。类似的还有想象的怀旧概念，如王家卫所说的沈从文作品中的虚构真相（王家卫1992），对《昆明的雨》（汪曾祺[1984]）以及《山西戏曲》（贾平凹1984）的阅读都有帮助。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:03, 20 December 2020 (UTC)&lt;br /&gt;
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1辛庄台小说新状态小说，由韩东，鲁羊，朱文，林白，陈梁，张梅代表。&lt;br /&gt;
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2后殖民主义思维（Williams等，1994）虽然被视为社会政治话语的一部分，却出现在文章中，特别是在1990年代批评性和政治性较弱但提倡爱国主义的论文中。卡夫卡主义可以帮助我们理解《梦m》（Si Yu 1995）一文，在那篇文章中作者是一位解构主义者，而主人公甚至被迫自杀。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:08, 20 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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-The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing ''fictional truth'' through the metaphor of his dog Baodi (Schwarcz 1996).&lt;br /&gt;
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'''20th Century Chinese Essay - A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing'''&lt;br /&gt;
&lt;br /&gt;
Martin Woesler&lt;br /&gt;
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The narrative established by literary histories  and anthologies has drawn a distorted picture of 20th century Chinese literature: The genre of the essay was almost ignored. In my paper I will demonstrate, how the picture of three authors change, if we take into consideration also some of their esayistic work. Here I choose the example of the critical political essay. The essay tells us more about an author than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions.&lt;br /&gt;
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施瓦茨的''个人悲伤''概念以''隐喻话语''的方式表达，有助于我们理解巴金是如何克服他所熟知的''存在的真相''，而只是通过对他的狗，宝迪，进行隐喻达到一个更有说服力的''虚构的真相'&amp;quot;（施瓦茨，1996）。&lt;br /&gt;
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'''20世纪中国散文--散文家巴金、周作人、朱自清的文体调查与新见解'''&lt;br /&gt;
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吴漠汀&lt;br /&gt;
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文学史和选本建立的叙事，对20世纪的中国文学进行了歪曲的描绘。文章的体裁几乎被忽略了。在我的论文中将证明，如果我们考虑到他们的一些散文作品，三位作家的形象将如何变化。在此，我选择了批判性政治文章的例子。与小说或诗歌相比，散文更能让我们了解一个作者，因为在这种文体中，我们遇到的是没有格律限制的作者本人。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 11:58, 20 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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In 1927, when the writers were threatened by a massacre among leftists by the National People's Party in Shanghai, a whole generation of writers found a common base in communist ideology, formally expressed in 1930 in the foundation of the &amp;quot;League of Left-Wing Writers&amp;quot;. &lt;br /&gt;
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Many writers had to define and often redefine their position and self-understanding in reaction to the changing political climate, often burying their own ideals, in the larger perspective for the seeming &amp;quot;needs&amp;quot; of society, which also claimed the author to be one of its products. This struggle of finding a position in a politicized environment is best documented in the essay --- &amp;quot;a genre of self-reflection&amp;quot;. Moreover, by its very nature, the essay overcomes boundaries of form and content. Therefore there are more essays than there is fiction free from political thoughts. Some essayists even went a step further, deconstructed the master narrative of leftist ideology, like the three writers I will talk about today.&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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'''Zhou Zuoren'''&lt;br /&gt;
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The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that a sophisticated May Fourth genius &amp;quot;degenerated&amp;quot; and later became a national &amp;quot;traitor&amp;quot;. Zhou's writings were officially considered bad literature, a total elimination of his texts was only prevented, because of the fame of his brother, who became a state author posthumously through the valuing of Mao Zedong. Actually the reception of his essays reaches a new climax now, in the essay collections of the 1990s, his essays rank 3rd, as I was able to proof with a survey of 5000 essays. That makes clear that his political engagement had no effect on the brilliance of his literary works.&lt;br /&gt;
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周作人&lt;br /&gt;
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中华人民共和国官方文学史对周作人的主要叙述是，一个卓越的五四天才“退化”，后来成为民族“叛徒”。 周的著作被官方认为是不良文学，由于他兄弟的名声，而他的兄弟因高度评价毛泽东死后成为国家作家，这彻底阻止了他的著作的全部出版。 实际上，现在他的论文的接受度达到了一个新的高潮，在1990年代的论文集中，他的论文排名第三，正如我通过对5000篇论文的调查所证明的那样。 这清楚地表明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 02:23, 17 December 2020 (UTC)&lt;br /&gt;
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周作人&lt;br /&gt;
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民国官方文学史对周作人的主要叙述是，一个老练的五四天才 &amp;quot;堕落 &amp;quot;了，后来成了民族 &amp;quot;汉奸&amp;quot;。周作人的文章被官方认为是劣质文学，彻底消灭他的文字只是因为他兄弟的名气，他通过重视毛泽东而成为国家作家，这彻底阻止了他的著作的全部出版。其实现在对他的散文的接受达到了一个新的高潮，在90年代的散文集中，他的散文排在第三位，这是我对5000篇散文的调查所能证明的。这说明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:52, 17 December 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
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The official assessment of the People's Republic is that Zhou's work experienced a caesura in 1938 due to his &amp;quot;degeneration&amp;quot; and opposition against the patriotic campaign.  Zhou kept trying to aesthetizise the little things of the everyday out of the subjective experience of his private space his whole life, only seven months after the incident at Marco Polo bridge he showed that it was again possible to write about a candy seller  for which he had been critizised as &amp;quot;paralyzing&amp;quot; . But there was indeed a caesura, namely the change in style and subject in his essays on literature, art etc. to ''zhengjing'' 正經­ (serious, intentional essays), and ''xiánshì'' 閑適 (essays for one’s own enjoyment). But this change is located not before his outlawing through Mao Zedong (1942), and his arrest by the Guomindang (1945).  Therefore not the Japanese suppressors should be made responsible for the retreat of this great writer, but his Chinese compatriots.  &lt;br /&gt;
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3 C. T. Hsia. [Note: Some of the annotations are in German and are translated into English during the editiorial work for the forthcoming edition.]&lt;br /&gt;
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4 (&amp;quot;Mai tang 卖糖&amp;quot; 1924).&lt;br /&gt;
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5 (Lu Xun 1934, Zhu Zhaoluo 1943).&lt;br /&gt;
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人民共和国官方的评价是，在1938年，由于他自身的 &amp;quot;堕落 &amp;quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验中审美出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &amp;quot;麻痹&amp;quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东取缔（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:35, 16 December 2020 (UTC)&lt;br /&gt;
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人民共和国官方的评价是，在1938年，由于他自身的 &amp;quot;堕落 &amp;quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验审美中剥离出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &amp;quot;麻痹&amp;quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东接力（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:43, 16 December 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
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So the first correction of the narrative is, that his literature was ''not'' effected by socio-political circumstances in quality, but in contents. And there is a second master narrative on Zhou Zuoren, which says that he was an apolitical author. Actually, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance . In the modernizing society, he advocated the liberation of women and asked to &amp;quot;treat children as full subjects with their own external and internal lives&amp;quot; and to &amp;quot;make children the essence of children's literature&amp;quot; , literature should make the society more humane.&lt;br /&gt;
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The second example, where a reading of some of his essays lets us rediscover the author is Ba Jin: He is known for his practical essays with anarchistic and communist background in the 1930s and 40s, for his opportunistic self-criticism, self-censorship  and the accusation of a writers' collegue during the cultural revolution. After the 'Cultural Revolution' he seemed to emerge as a righteous character , when he claimed to have done all this under pressure. He then devoted his essays to the working up of the trauma of the 'Cultural Revolution', for example in the self-accusing essay series ''Random Thoughts''.&lt;br /&gt;
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因此，对叙事的第一个纠正是，他的文学不是在质上受社会政治环境的影响，而是在内容上。还有一个关于周作人的第二个故事，说他是一个不关心政治的作家。事实上，他想把他对政治声明的无欲理解为一种政治声明本身。对他来说，文学不是革命的手段，而是反抗的手段。在现代化社会中，他倡导妇女解放，要求“把儿童作为一个完整的主体，有自己的外在和内在的生命”，“使儿童成为儿童文学的本质”，文学要使社会更加人性化。&lt;br /&gt;
第二个例子，读了他的一些文章，我们就可以重新发现这个作者是巴金：他以他在20世纪30年代和40年代写作的具有无政府主义和共产主义背景的实用文章而闻名，因为他在文革期间机会主义的自我批评、自我审查和对作家圈的指责。在“文化大革命”后，当他声称自己是在压力下做这一切的时候，他似乎成了一个正直的人。然后，他把自己的散文归于“文化大革命”的创伤中，例如在自责的系列随笔《随想》中。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:50, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
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Since they were seldom reprinted, two of Ba Jin’s critical essays &amp;quot;''Independent Thoughts''&amp;quot; and &amp;quot;''Writers’ Courage and Sense of Duty''&amp;quot;, dating 1956 and 1962 were overlooked. With them, Ba Jin turns out to be a lifelong independant writer. The two essays were criticised. He had to deny their contents and later they were censored. Even nowadays, these texts are not easy to find in anthologies and dictionaries in the P.R.C. and Taiwan.&lt;br /&gt;
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&amp;quot;''Independant Thoughts''&amp;quot; dated 1956, propagates the freedom of the individual and of thoughts. This essay was written in the '100-Flower-Movement', when criticism was induced officially. Ba Jin corresponded only to the 'mainstream', although his criticism was unusually sharp. Much more distinctly directed against the 'mainstream' was the second text, which I want to introduce shortly.&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
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&amp;quot;''Writers’ Courage and Sense of Duty''&amp;quot;, a speech at the second Shanghai congress of writers and artists in early 1962, has later been censored at seven striking places. In it, Ba Jin judges very hard about himself and his collegues: At different campaigns against literary works they would have followed the political demands opportunistically and therefore were traitors. The second target of Ba Jin's criticism were the censors and critics, who would posess more power than the writers and that without legitimation. Ba Jin interpreted Mao's Yan'an speeches on art and literature in the way, that writers should themselves take over responsibility.&lt;br /&gt;
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'''&amp;quot;The Small Dog Baodi&amp;quot; as a metaphorical discourse on Ba Jin's personal grief'''&lt;br /&gt;
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Although Ba Jin is regarded together with Bing Xin as one of the representatives of Republican literature, the more important part of his essayistic work seems to lie after 1949 . Publishing from Hong Kong since 1979, he has spoken out loudly in opposition and in trying to help ease the trauma associated with the 'Cultural Revolution'.&lt;br /&gt;
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1962年初在上海第二届文艺代表大会上的一篇演讲《作家的勇气与责任感》后来有七个引人注目的部分被删减。在这部小说中，巴金对自己和他的同僚进行了严格的评判：在不同的文学运动中，他们会适时地追随政治要求，因此他们是叛徒。巴金批评的第二个对象是审查员和批评家，他们比作家拥有更多的权力，没有合法性。巴金对毛泽东延安文艺讲话的解读是：作家应该自己承担责任。&lt;br /&gt;
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'''《小狗包弟》作为一种隐喻讲述了巴金的个人悲痛'''&lt;br /&gt;
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巴金虽然与冰心一起被视为共和文学的代表人物之一，但其散文作品更重要的部分似乎在于1949年以后。自1979以来从香港出版，他大声反对，并试图帮助缓解与“文化大革命”有关的创伤。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:24, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
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One of this essays is the story-like &amp;quot;''Small Dog Baodi''&amp;quot;. Written in 1980, the author remembers his dog, which he had received two decades ago from a Swedish person and which he loved after a while. When the 'Red Gards' raged, the dog was in danger. Ba Jin describes in detail the fate of the animal and his own resignation, when he learned that he could not protect the dog. In order to save him from a torturous death, he finally submitted the dog in 1966 for medical experiments. Revisiting his garden after the 'Cultural Revolution', he remembers painfully how his wife had played here with the dog. I would like to show six points of interpretation:&lt;br /&gt;
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这篇随笔中有一篇是像故事一样的《小狗宝蒂》。这封信写于1980年，作者回忆起他的狗，这只狗是20年前他从一个瑞典人那里收到的，过了一段时间他就爱上了它。当“红色大革命”流行时，狗处于危险之中。巴金详细描述了这只动物的命运和他自己的辞职，当他得知他不能保护狗。为了把他从痛苦的死亡中拯救出来，他最终在1966年把狗送去做医学实验。“文化大革命”后，他重新回到他的花园，痛苦地回忆起妻子在这里和狗玩耍的情景。我想提出六点解释:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:36, 19 December 2020 (UTC)&lt;br /&gt;
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这随笔集中，有一篇故事《小狗包弟》。这篇文章写于1980年，作者怀念他的狗，这只狗是作者二十年前从一个瑞典人手中收到的，过了一段时间作者就爱上了它。当'红卫兵'肆虐的时候，这只狗的处境危险。巴金详细描述了小狗包弟的命运和自己得知无法保护狗时的无可奈何。为了让小狗包弟免于折磨而死，巴金终于在1966年将这只狗送去做医学实验。'文革'后巴金重游自家花园，他痛苦地回忆起妻子在这里与狗玩耍的情景。对这篇文章，我想提出六点解读：--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 06:55, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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1, The dog is a metaphor. In the beginning Ba Jin seems to report the fate of a dog with relevance only to his owner. But soon it becomes clear that Ba Jin actually mediates to the reader the cruelty of the 'Cultural Revolution'. The reader wonders, &amp;quot;if they did ''this'' with an ''innocent'' dog, what did they do with ''men'', whom they considered ''guilty''?&amp;quot; Ba Jin analogizes himself with the dog, when he sees himself liying on the dissection table. Even Baodi's death is useful, he serves science - could a man be more altruistic?&lt;br /&gt;
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狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗都能这样做，那么他们对那些他们认为“有罪”的“人”又做会怎样做呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连鲍迪的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 13:53, 16 December 2020 (UTC)&lt;br /&gt;
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狗是个比喻。 一开始，巴金似乎在说狗的命运只跟主人有关。但是很快我们就知道了，巴金实际上是在向读者介表述“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗“都能如此”，对那些视为“有罪”的“人”又会怎样呢？” 当巴金看到自己躺在解剖台上时，他将自己比作狗。就连鲍迪都死得其所，服务了科学---一个人还能更无私吗？--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:52, 17 December 2020 (UTC)&lt;br /&gt;
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狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者会想，“如果他们对一只“无辜”的狗都能如此，那么他们对那些他们认为“有罪”的“人”又会怎样呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连包弟的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:25, 20 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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6 (Zhou 1929:180-181).&lt;br /&gt;
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7 (Zhou 1923).&lt;br /&gt;
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8 (The Family in 1951)&lt;br /&gt;
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9 (1982 Yi pian xuwen).&lt;br /&gt;
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10 (Suixianglu) The essays of the 1980s are more autobiographical, and deal with literature and questions for society nowadays. Due to the very nature of the essay, we can look through his &amp;quot;Random Thoughts&amp;quot; into the soul of Ba Jin..&lt;br /&gt;
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11 (Random Thoughts 1978-86, see Ba Jin 1988).&lt;br /&gt;
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2, Ba Jin expresses the pain of the loss of his wife through the dog. Not before the very end of the essay, Ba Jin mentions his wife in painful remembrance, who became ill and died during those ten years. In the essay &amp;quot;''In Memoriam Xiāo Shān''&amp;quot;, which appeared earlier in the collection, he had confessed severe feelings of guilt regarding her death, what haunted him into his dreams. He claimed, that they had withhold her medical treatment because of him. &lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
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3, The essay is an accusation of the 'Cultural Revolution'. The not-mentioning of the 'Cultural Revolution' as the reason for his wife's death makes the pain the more accusatory, especially in front of the comparable unimportant doglife. His terrifying awareness is the powerlessness - he was not able to protect his dog nor his wife. Ba Jin actually wants to illustrate the powerlessness of the individual in front of collective cruelty.&lt;br /&gt;
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本文是对'文革'的控诉。 没有提到“文化大革命”是其妻子去世的原因，这就更让人痛心疾首，尤其是在相对不重要的狗命面前。他可怕的意识是那种无力感-他没有能力保护他的狗和他的妻子。巴金其实是想说明个人在集体的残酷面前的无能为力。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:50, 17 December 2020 (UTC)&lt;br /&gt;
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这篇文章是对“文化大革命”的控诉。没有提及“文化大革命”是他妻子死亡的原因，使这种疼痛更具控诉性，尤其是在相对无关紧要的狗的性命面前。他意识到无能为力是多么可怕——他既不能保护他的狗，也不能保护他的妻子。巴金其实是想展示在集体的残酷面前个体的无能为力。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:29, 17 December 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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4, The significance of this way to deal with the 'Cultural Revolution'. If one compares the mentioned essay with others of the year 1979, it lied within the common trend of criticizing the 'Cultural Revolution'. But there were also authors like Bing Xin denied the 'Cultural Revolution' - soon after its end, she used similar titles for her books than before - in order to pretend continuity. Wang Meng worked up the 'Cultural Revolution' in a humoristic way - ''Ba Jin'''s essays stand out of these, because of their relentlessness and confessing character.&lt;br /&gt;
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==Zhu Suyao 朱素瑶==&lt;br /&gt;
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5, The use of rhetorical means. Ba Jin pretends to be a simple documentarist &amp;quot;I expect from literature [...] that it tells the truth.&amp;quot;. In fact he is known for his direct and accusing truth, sometimes his literary style is critizised as too direct and too less artful (a reproach from Hong Kong students). In &amp;quot;''The Small Dog Baodi''&amp;quot; he is using literary means to create emotion in his readers. He uses composition and rhetoric means like animation. The dog Baodi allegorically shows the injustice and inhumanity of the 'Cultural Revolution'. Here, Ba Jin turns into a narrator who recounts the memories of the 'Cultural Revolution' in ''allegoric'' instead of in descriptive truth as before . He is longing for a ''fictional truth'', instead of the ''truth of being'' in the sense of Thomas Aquinas. The fictional realism Wang Der-wei sees in Lao She, Mao Dun and Shen Congwen, proofs helpful for the understanding of this piece.&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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6, Ba Jin's personal grief is much more persuading in the metaphor of the dog than in his direct accusing essays. As Vera Schwarcz (1996) points out&lt;br /&gt;
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&amp;quot;To speak too much of grief is to blunt its edge. It might even make us deaf to the cry that sparked discourse about suffering in the first place. A cold, calculating intelligence cannot grasp the rough contours of grief. [...] To preserve the significance of personal suffering in public life we need a more indirect approach; one that accepts and, indeed, nourishes AMBIGUITY. This, in the words of Cynthia Ozick, is the discrete province of METAPHOR, &amp;quot;the reciprocal agent, the universalizing force that makes it possible to envision the stranger's heart.&amp;quot; [...]&lt;br /&gt;
She also mentions that &amp;quot;[...] absence of talk -- or, rather modest use of ''metaphorical discourse'' -- serve us better in the presence of massive grief.&amp;quot;&lt;br /&gt;
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6.巴金的个人悲痛，在狗的隐喻中比他直接指责的文章更有说服力。&lt;br /&gt;
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正如薇拉·施娃茨（Vera Schwarcz）（1996）所指出的那样&amp;quot;过多地谈论悲痛就是钝化它的锋芒。这种行为甚至可能让我们对最开始引发关于讨论痛苦的呐喊充耳不闻。冷酷、斤斤计较的智慧无法把握悲伤的粗糙轮廓。[...]为了保持个人苦难在公共生活中的意义，我们需要一种更间接的方法；一种接受并且实际上滋生模棱两可的方法。用辛西娅·奥齐克（Cynthia Ozick）的话说，这就是隐喻的分立范畴，&amp;quot;相互作用，普遍化的力量，使得我们能够想象陌生人的心。&amp;quot;[...]她还提到，&amp;quot;[....]保持沉默--或者说适度使用“隐喻性话语”--在巨大的悲痛面前更有利于我们&amp;quot;。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:05, 19 December 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
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To sum up, Ba Jin turns out not to be the self-censorer, who tried to make his literature fit into the communist ideology. Instead he was a lifelong fighter for the freedom of speech and the independancy of literature from politics, who spoke out whenever he had the opportunity without endangering himself. He also no longer appears as the &amp;quot;uneducated&amp;quot; writer of simple truth, as he leads us to believe. Yet he has achieved a high rhethoric of ''fictional truth'' and is able to transmit his personal grief even more persuadingly in a ''metaphorical discourse'' throught the metaphor of the dog Baodi.&lt;br /&gt;
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综上所述，巴金原来并不是一个自我审查者，试图使自己的文学符合共产主义意识形态。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要有机会，他就会大声疾呼，但不会危及自身。他也不再像他引导我们相信的那样，以“不谙世事”的作家形象出现。巴金对虚构事实的修辞手法已经十分高超，能够通过狗宝弟的隐喻，以隐喻性的话语，更有说服力地传递他个人的悲伤。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:47, 18 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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综上所述，巴金并不是一个试图使自己的文学符合共产主义意识形态的自我审查者。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要一有机会，他就会在不危及自己的情况下畅所欲言。他也不再像他引导我们相信的那样，以“没有受过教育的”作家的形象出现。然而，他实现了“虚构真实”的高度流变，通过狗宝弟的隐喻，在“隐喻话语”中更有说服力地表达了个人的悲伤。&lt;br /&gt;
--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:41, 19 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201214_cult&amp;diff=116247</id>
		<title>20201214 cult</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201214_cult&amp;diff=116247"/>
		<updated>2020-12-20T05:33:44Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Alsied, Saffana==&lt;br /&gt;
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==Cao Runxin 曹润鑫==&lt;br /&gt;
1.儒家精神有其相对稳定、不易改变的一面。它不完全受社会形态的影响，有较为普遍的适应性，可以跨越不同社会历史时期，被不同政治制度、不同经济形态和不同文化背景下的人们所接受。&lt;br /&gt;
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The spirit of Confucianism is relatively stable and unchangeable. It is not entirely influenced by social forms and has a more universal adaptability, and can be accepted across different socio-historical periods and by people in different political systems, different economic forms and different cultural backgrounds.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)&lt;br /&gt;
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2.道家从维护个人利益的角度出发，在经济理论、社会实践方面创立了“人本”的思想观点，主张通过维护每个人的个人利益来达到社会的和谐繁荣。&lt;br /&gt;
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From the perspective of protecting the interests of the individual, Taoism has created a &amp;quot;humanistic&amp;quot; ideology in economic theory and social practice, advocating that social harmony and prosperity can be achieved by protecting the individual interests of each person.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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1.儒家思想精髓在于它的社会伦理思想，正是封建社会伦理观从国家统治阶级的高度期望出发将人们生活现实中的行为规范用通俗的语言规范起来，让农民成为社会道德思想的奴隶，而这种封建伦理观作为封建统治阶级上层建筑社会意识中的最广泛影响治理社会群众基础的核心，从而完成对国家社会双重治理的理想效果。&lt;br /&gt;
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The essence of Confucianism lies in its social ethical thought. It is the thought of feudal society that regulates the behavior norms of people’s lives in popular language from the high expectations of the country’s ruling class, making the peasants be enslaved to social ethics. As the core of the social consciousness of the feudal ruling class superstructure, which has the most extensive influence on governing the society and the people, it has achieved the ideal effect of dual governance of the state and society. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)&lt;br /&gt;
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2.道教把生命看得极为重要，修道就是要长生不死，主张通过修炼来延长生命的长度，提高生命存在的质量，以达到生命的永恒。道教主张以清净无为、不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼，通过各种道术修炼，与道合一，成为长生不死的神仙。&lt;br /&gt;
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Taoism regards life as extremely important and practicing Taoism is to become immortal. It advocates to extend the length of life and improve the quality of life by practicing, so as to achieve eternity of life. Taoism holds an attitude of purity and non-contentiousness towards worldly life, and cultivation in the spirit of &amp;quot;I am the master of my fate&amp;quot;, so that through various Taoist practices, one can unite with the Tao and become an immortal deity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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1.孔子生而七漏，头上圩顶，而又因其母曾祷于尼丘山，故名“丘”，字“仲尼”。&lt;br /&gt;
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Confucius was born terribly ugly with a bump on the head, and as his mother once prayed on Mount Niqiu for his birth, he is named “Qiu” with the word “Zhongni”.   &lt;br /&gt;
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2.道家认为只有老百姓认可的平等才幸福，人们想要没有徭役租赋负担，“内足衣食之用，外无势利之争”的社会&lt;br /&gt;
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Taoism claims that only the sort of equality that the ordinary people recognized will bring true happiness. People are yearn to be free from labour rent and taxes and to live in a society with adequate food and clothes and no struggle for power and gains.&lt;br /&gt;
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==Dashkin, Gennadii==&lt;br /&gt;
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1. It's generally believed that when Confucius was in his late 60s, he returned to his hometown Qufu in Shandong Province. For several years in his early 70s, he taught a group of disciples who later propagated his beliefs and developed their own philosophies. &lt;br /&gt;
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人们普遍认为，孔子在六十多岁时回到了他的家乡山东曲阜。 在70年代初期的几年中，他教过一群门徒，后来这些人传播了自己的信仰并发展了自己的哲学。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)&lt;br /&gt;
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我们通常认为，孔子在六十多岁时回到了他的家乡山东曲阜。在七十多岁的前几年，他教过一群门徒，后来这些人传播了他的信仰并发展了自己的哲学。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)&lt;br /&gt;
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2. Consequently, many leaders of Taoism had gained great respects from the imperial governments. &lt;br /&gt;
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因此，许多道教领袖得到了帝王政府的尊敬。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)&lt;br /&gt;
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因此，许多道教领袖都受到了朝政的尊敬。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
1. 孔子提出“有教无类”，认为人人都应该受教育。在教育实践中创立了灵活多样的教学方法，提倡“学”与“思”的结合、学习与复习的结合以及教与学的结合，讲求因材施教和启发式教学等等。&lt;br /&gt;
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Confucius maintained the idea that everyone has the right to be educated despite class differences. In teaching practice, Confucius adopted flexible teaching methods which involve the combinations of learning and thinking, learning and reviewing as well as teaching and learning. He strived for educating students in accordance with their aptitude and adopted a heuristic style of teaching.&lt;br /&gt;
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Confucius put forward &amp;quot;there is no kind of education,&amp;quot; and believed that everyone should be educated. In educational practice, flexible and diverse teaching methods have been created, advocating the combination of &amp;quot;learning&amp;quot; and &amp;quot;thinking&amp;quot;, the combination of learning and review, and the combination of teaching and learning, and emphasis on teaching students in accordance with their aptitude and heuristic teaching, etc.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)&lt;br /&gt;
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2. 道家强调自由、自然、修身养性，甚至追求永生。道教对中国文化的许多领域都产生了深刻而持久的影响，包括艺术、哲学、医学和美食，并在东亚地区广泛流传。&lt;br /&gt;
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Daoism emphasizes freedom, nature, self-cultivation and even pursues immortality. Daoism has had a deep and lasting influence in many fields of Chinese culture, including the arts, philosophy, medicine, and cuisine. It has also spread widely throughout East Asia.--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:18, 19 December 2020 (UTC)&lt;br /&gt;
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Taoism emphasizes freedom, nature, self-cultivation, and even the pursuit of immortality. Taoism has had a profound and lasting influence on many areas of Chinese culture, including art, philosophy, medicine, and gastronomy, and it has spread widely in East Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
1.儒家思想以传统封建社会为物质承担者，传统封建社会以儒家思想为精神承担者，传统社会的瓦解，致使孔子圣人权威丧失。&lt;br /&gt;
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The Confucianism takes traditional feudal society as material undertaker while the latter takes the former as sipiritual undertaker. Therefore, the disintegration of traditional society causes the Sage Confucius to lose his authority.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC) &lt;br /&gt;
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2.道家作为一种思想流派，崇尚大道，主张“惟道是从、道法自然”，主要从事的是学术活动和政治文化活动，奉《道德经》、《庄子》、《黄帝四经》等为经典。&lt;br /&gt;
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As a school of thought, Taoism advocates the great truth and follows the principle of nature. It is mainly for academic, political and cultural activities and regards Tao Te Ching,Chuang-tzu and Huang Di Si Jing as classics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
1、“儒学”、“儒家”、“儒教”这些概念要分清。儒学作为一种学说，儒家作为一个阶层，儒教作为一种信仰，三者需要区分开来。&lt;br /&gt;
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We should clearly distinguish the three concepts ---- Confucianism, Confucianist, Confucian religion, among which Confucianism is a theory and Confucianist is a strata and Confucian religion is a religion. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)&lt;br /&gt;
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2、在我国优秀传统文化中，道家思想蕴含了和谐理想、平等观念、诚信美德等诸多伦理智慧，这些思想很多都与社会主义核心价值观具有相通性，它们为社会主义核心价值观构筑了坚实的文化沃土。&lt;br /&gt;
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In Chinese excellent traditional cultures, Taoism contains such ethics and wisdom as the desire for harmony, the idea of equality and the virtue of honesty, many of which have commonalities with the core values of socialism and have laid a solid cultural foundation for the core values of socialism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)&lt;br /&gt;
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In Chinese excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.&lt;br /&gt;
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==Grosheva, Anna==&lt;br /&gt;
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1. Confucianism is the main ancient philosophy of China. It implicitly embodies key aspects of Chinese culture. Confucian beliefs have constantly changed and developed over the past 2,500 years. &lt;br /&gt;
儒学是中国的主要古代哲学。 它隐含了中国文化的关键方面。在过去的2500年中，儒家信仰不断变化和发展。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)&lt;br /&gt;
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2. During its popularization since its birth, Taoism had long been a kind of high-level culture, and widely pursued by the upper-class society. &lt;br /&gt;
道教自诞生之日起就一直是一种高级文化，并受到上层社会的广泛追捧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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==Guirou, Barthelemy==&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
1. 孔子是我国古代伟大的思想家和教育家,儒家学派创始人,世界最著名的文化名人之一。孔子的言行思想主要载于语录体散文集《论语》。&lt;br /&gt;
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Confucius was a great thinker of ancient China and educator, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.&lt;br /&gt;
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Confucius is a great thinker and educator in ancient China, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:44, 18 December 2020 (UTC)&lt;br /&gt;
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2.道教(或道教)是指各种相关的中国哲学传统和概念的英文名称。这些传统影响了东亚两千多年，有些还在国际上传播。道家的礼教和伦理强调 &amp;quot;道 &amp;quot;的三宝，即“慈、俭、让”。道家思想注重 &amp;quot;无为&amp;quot;、&amp;quot;人本&amp;quot;、&amp;quot;虚无&amp;quot;。无为常常被错误地翻译为（&amp;quot;无所作为&amp;quot;），这种错误由于非道家学者的翻译而广泛传播。道教强调人与自然的联系。道教认为，这种联系减少了对规则和秩序的需要，使人更好地理解世界。&lt;br /&gt;
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Taoism (or Daoism) is the English name referring to a variety of related Chinese philosophical traditions and concepts. These traditions influenced East Asia for over two thousand years and some have spread internationally. Taoist propriety and ethics emphasize the Three Jewels of the Tao; namely, compassion, moderation, and humility. Taoist thought focuses on wu wei (&amp;quot; action that does not involve struggle or excessive effort&amp;quot; ) spontaneity, humanism, and emptiness. Wu wei is often incorrectly translated as (&amp;quot;non-action&amp;quot;) and this error has propagated widely as a result of translations made by academics who are non practising Taoists. An emphasis is placed on the link between people and nature. Taoism teaches that this link lessened the need for rules and order, and leads one to a better understanding of the world.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:12, 17 December 2020 (UTC)&lt;br /&gt;
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==Ha, Thi Thu Hang==&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
1.孔子是中国儒学的创始人。两千余年来，儒家思想对中国的影响不仅体政治、政治、文化等方面，也体每一个中国人的行为和思维方式之中。&lt;br /&gt;
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Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of Confucianism on China is not only in politics, politics, culture and so on, but also in the behavior and mode of thinking of every Chinese.&lt;br /&gt;
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Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of his Confucianism on China is not only in politics,culture and so on, but also in the behavior and mode of thinking of every Chinese.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)&lt;br /&gt;
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2.道教在世界宗教中是独一无二的，因为它没有官方的教条和教义。它最重要的文本是《道德经》和《庄子》，这两本书可能被认为是文学或哲学作品，而不是宗教文本。&lt;br /&gt;
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Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy more than religious texts. --[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:56, 18 December 2020 (UTC)&lt;br /&gt;
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Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy instead of religious texts.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:04, 19 December 2020 (UTC)&lt;br /&gt;
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Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered as works of literature or philosophy rather than religious texts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
1. 孔子是儒家学派的创始人，也是春秋时期人本主义思想的集大成者。儒家思想已成为我们文化遗产中的一部分。&lt;br /&gt;
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Confucius was the founder of the Confucian school and the main Humanist thinker of the Spring and Autumn Period. Confucian ideas have become part of our cultural inheritance.&lt;br /&gt;
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Confucius was the founder of the Confucianism and the major Humanist thinker in the Spring and Autumn Period, whose  ideas have become part of our cultural inheritance.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:06, 18 December 2020 (UTC)&lt;br /&gt;
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Confucius was the founder of the Confucian school and a master of humanistic thoughts in the Spring and Autumn Period. And Confucianism has become a part of our cultural inheritance.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 05:01, 19 December 2020 (UTC)&lt;br /&gt;
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2. 传统上，道教是归因于三个来源，最古老的是黄帝传说，但最著名的是老子的《道德经》。第三个来源就是庄子的作品。道教的最初来源据说是古代的《易经》。&lt;br /&gt;
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Traditionally, Taoism has been attributed to three sources, the oldest being the legendary ‘Yellow Emperor’, but the most famous is Lao Zi's Tao Teh Ching. The third source is Chuang Tzu's work. However, the original source of Taoism is said to be the Book of Changes.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 08:48, 18 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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孔子在中国历史上最早提出人的天赋素质相近，个性差异主要是因为后天教育与社会环境影响（“性相近也，习相远也”）。因而人人都可能受教育，人人都应该受教育。&lt;br /&gt;
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Confucius was the first  Chinese  to argue that human beings are endowed with similar qualities, and  personality differences are mainly due to the influence of  education and social environment (&amp;quot;By nature men are similar to one another, but learning and practice make them different.&amp;quot;). Thus, everyone could be and should be educated.&lt;br /&gt;
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庄子在哲学思想上继承和发展了老子“道法自然”的思想观点，使道家真正成为一个学派，他自己也成为了道家的重要代表人物，与老子并称“道家之祖”。&lt;br /&gt;
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Zhuangzi inherited and developed Laozi's philosophical idea of  &amp;quot;the natural law&amp;quot;, making Taoism an academic school, and he himself became an important representative of Taoism, known as  &amp;quot;the ancestor of Taoism&amp;quot; together with Laozi.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:54, 18 December 2020 (UTC)&lt;br /&gt;
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Zhuangzi inherited and developed Laozi's idea of &amp;quot;Tao following nature&amp;quot; in philosophy, making Taoism a school of thought. He himself became an important representative of Taoism and was called &amp;quot;the ancestor of Taoism&amp;quot; with Laozi.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:05, 18 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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1.儒家思想是先秦诸子百家学说之一，由孔子于公元前5世纪创立，是中国影响力最大的流派，也是中国古代的主流意识。 儒家思想的内涵丰富复杂，在广泛汲取古代典籍精华的基础上逐步发展出基础理论和思想，即讲大一统、讲君臣父子。由程朱理学、陆王心学到废除封建君主专制制度等，都体现了儒家思想的内容。&lt;br /&gt;
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Confucianism is one of the various schools of thought in pre-Qin period, established by Confucius in the 5th century BC. It is the most influential school in China and the mainstream ideology in ancient China. The connotation of Confucianism is rich and complex. On the basis of extensively absorbing the essence of ancient classics, it has gradually developed the basic theories and thoughts, namely, the great unification and the emperor and the subjects just like father and sons. Besides, the philosophy of Cheng and Zhu, the philosophy of Lu and Wang, the abolition of the feudal autocratic monarchy, and so on are all the embodiment of Confucianism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)&lt;br /&gt;
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2.道家思想是无所不能、永恒不灭，有辩证法因素和无神论倾向，是老子总结古老的道家思想所形成的完整系统理论，它以“道”为最高哲学范畴，认为“道”是世界的最高真理，是宇宙万物的本源，也是宇宙万物赖以生存的依据。 其主流派有黄老学派，鬼谷子纵横家、修真派、法家学派、玄学、杨朱学派。无为、不争，是老子对君王的告诫，汉文帝、唐太宗、宋仁宗、明太祖等皆以道家思想治国，使人民从前朝苛政之后得以休养生息。&lt;br /&gt;
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Taoism, omnipotent and eternal, with a tendency to dialectical factors and atheism, is a complete system of theories formed by Lao Zi by summarizing ancient Taoist thoughts. It takes &amp;quot;Tao&amp;quot; as the highest philosophy and truth, the origin of the universe, and also the basis for the existence of the universe. Its main schools are Huang Lao school, Guiguzi school, Xiuzhen school, Legalist school, metaphysics, and Yang Zhu school. Lao Zi persuaded emperors to do nothing and fight for nothing. And Emperor Wen of the Han Dynasty, Emperor Taizong of the Tang Dynasty, Emperor Renzong of the Song Dynasty and Emperor Taizu of the Ming Dynasty all ruled with Taoist thoughts, so that people could recover from the tyranny of the previous dynasty.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
1. 理学是中国古代最为精致、最为完备的理论体系，其影响至深至巨。理学的天理是道德神学，同时成为儒家神权和王权的合法性依据，至南宋末期被采纳为官方哲学。&lt;br /&gt;
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Neo-Confucianism is the most exquisite and complete theoretical system in ancient China, and its influence is profound and enormous. The natural principle of Neo-Confucianism is moral theology, which has become the legal basis of Confucian theocracy and kingship, and was adopted as official philosophy at the end of Southern Song Dynasty.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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2. 古代道家崇尚自然，有辩证法的因素和无神论的倾向，但是主张清静无为，反对斗争。&lt;br /&gt;
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Ancient Taoism advocates nature, has dialectic factors and atheism tendency, but advocates quietism and opposes struggle.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
1、儒家学派的创始人孔子第一次打破了旧统治阶级垄断教育的局面，变“学在官府”为“有教无类”，使传统文化教育播及到整个民族。因此儒家思想有了坚实的民族心理基础，为全社会所接受并逐步儒化了全社会。但是儒学在历史上也多次遭受严重冲击，近至满清的文字狱，毁古书严重的《四库全书》，远至秦始皇焚书令等。&lt;br /&gt;
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Confucius, the founder of the Confucian school, broke the monopoly of the old ruling class on education for the first time, changed the &amp;quot;learning in the government&amp;quot; to &amp;quot;teaching without class&amp;quot;, and spread traditional culture and education to the whole nation. As a result, Confucianism had a solid national psychological foundation and was accepted by society as a whole, which gradually became Confucianized. However, Confucianism has also suffered many serious impacts in history, from the Manchu Qing dynasty's written jails to the destruction of ancient books in the Siku Quanshu, and the Qin Shihuang's book burning order.&lt;br /&gt;
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Confucius, the founder of the Confucian school, broke the monopoly of education by the old ruling class for the first time, changing &amp;quot;study in the government&amp;quot; to &amp;quot;education without class&amp;quot;, so that traditional cultural education spread to the entire nation. Therefore, Confucianism has a solid national psychological foundation, accepted by the whole society and gradually Confucianized the whole society. However, Confucianism has also suffered severe impacts in history many times, as far as the Manchu literary prison, the &amp;quot;Siku Quanshu&amp;quot;, which has severely destroyed ancient books, and as far as the book burning order of Qin Shihuang.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:11, 19 December 2020 (UTC)&lt;br /&gt;
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2、一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。从养生学源流的角度说：寿命无限。&lt;br /&gt;
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It is generally believed that one of the characteristics of Taoist thought is to achieve the supreme perfection of eternal immortality through various cultivations, thus it creating the science of Chinese medicine and health and from the practice of alchemy, gunpowder was invented, and the four major inventions of China are all related to Taoism. From the perspective of the source of health science:it means infinite life span.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:35, 18 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
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1.董仲舒顺应汉武帝强权的需要，倡导“罢黜百家，独尊儒家”的思想。&lt;br /&gt;
Dong Zhongshu adapted to the needs of Emperor Wu of Han Dynasty to strengthen power, and advocated the idea of &amp;quot;deposing hundreds of schools and respecting Confucianism only&amp;quot;. --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili&lt;br /&gt;
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2.道家以“道”为核心，是“诸子百家”中一门极为重要的哲学流派，存在于中华各文化领域，对中国乃至世界的文化都产生了巨大的影响。&lt;br /&gt;
Taoism, with &amp;quot;Tao&amp;quot; as its core， is a very important philosophical school in &amp;quot;various schools of thought&amp;quot;. It exists in all cultural fields of China and has a great impact on Chinese and even the world culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
1. 儒家在先秦时期和诸子百家地位平等，秦始皇焚书坑儒后，使儒家遭受重创。而后汉武帝为了维护封建专制统治，听从董仲舒“罢黜百家，独尊儒术”的建议，对思想实施钳制，使儒家重新兴起。历经两千多年的发展演变，儒学文化构建起完整的思想体系，涉及政治、教育、道德伦理、行为准则、生活技艺等诸多方面，长期涵养国人的智慧和心灵，形成固定思维、心理以及生存模式，可谓根深蒂固。&lt;br /&gt;
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Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &amp;quot;banishing other schools of thought and worshiping Confucianism only&amp;quot; and imposed restrictions on thought, which led to the revival of Confucian school. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)&lt;br /&gt;
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2. 《老子》是道家学派的主要著作之一，它的产生丰富了我国传统文化和思想宝库。老子是道家思想的创始人，他提出了许多重要的范畴和观点，在中国哲学史上独放异彩，并给予后世以深远影响。&lt;br /&gt;
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''Laozi'' is one of the main works of the Taoist School; its production enriches our country's traditional culture and stock house of thoughts. Lao Zi, the founder of the Taoism, proposed a lot of important views and conceptions which have original enchantment in Chinese philosophy, and influence the afterworld deeply. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)&lt;br /&gt;
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''Laozi'' is one of the main works of the Taoism and its production enriches our traditional culture and the treasury of thoughts. Lao Zi, the founder of the Taoism, proposed many important views and conceptions which have original enchantment in Chinese philosophy, and have a far-reaching influence on the afterworld.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:36, 17 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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1.人道主义是人类永恒的主题，对于任何社会，任何时代，任何一个政府都是适用的，而秩序和制度社会则是建立人类文明社会的基本要求。&lt;br /&gt;
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Humanity is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.&lt;br /&gt;
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Humanitarianism is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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Humanity is the eternal theme of human society, and it is applicable to any society, any era, and any government. Order and institution is the basic requirement for building a civilized human society.&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only religion that originated in China and was founded by Chinese people, so it is also known as a native religion.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:38, 17 December 2020 (UTC)&lt;br /&gt;
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Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as a native religion.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
1、孔子的大同社会、小康社会理想对中国后世影响深远。后来不同历史时期，不同阶段的思想家提出不同内容的憧憬蓝图和奋斗目标，这种思想对进步思想家、改革家也有一定启发，洪秀全、康有为、谭嗣同和孙中山都受其影响。&lt;br /&gt;
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Confucius' ideal of a commonwealth society and a moderately prosperous society had a profound influence on later generations in China. Later on, thinkers at different stages of history put forward different content of visionary blueprints and goals to strive for, and such ideas also inspired progressive thinkers and reformers, with Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Yat-sen being influenced by them.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)&lt;br /&gt;
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The social ideal of a commonwealth society and a moderately prosperous society from Confucius has posed profound impacts on China's future generations. Later, even in sundry historical times, miscellaneous idealists put forward different blueprints and struggle goals, which indicated that Confucius ideal has inspired advanced idealists and refomers, including Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Zhongshan.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:20, 17 December 2020 (UTC)&lt;br /&gt;
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2、新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。&lt;br /&gt;
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After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)&lt;br /&gt;
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After the founding of the People's Republic of China, Taoism was out of some unreasonable systems and bad practices in the old society were reformed and it then took on a new face. The establishment of the Chinese Taoist Association promoted the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. However, Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 05:06, 17 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
从鸦片战争到戊戌变法是新儒学的准备阶段，这一阶段主要表现为儒家学者在西方文明冲击之下被动接受西方文明的一些内容以求自强。&lt;br /&gt;
The period from the Opium War to the Hundred Days Reform was the preparatory period of Neo-Confucianism,which was characterized by the passive acceptance of some elements of Western civilization by Confucian scholars in order to strengthen themselves under the impact of Western civilization.&lt;br /&gt;
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道教源于神仙思想和神仙方术。虽神仙方术没有系统的理论，但神仙家信仰的方术被道教承袭，神仙方术演化为道教的修炼方术，神仙方士演化为道家的道士。&lt;br /&gt;
Taoism originated from the idea of the divine immortals and the divine immortal arts. Given the fact that there is no systematic theory of divine and immortalism, the divine and immortalist beliefs were inherited by Taoism. The divine and immortalist prescriptions evolved into Taoist cultivation prescriptions, and the divine and immortalist practitioners evolved into Taoist priests.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:21, 18 December 2020 (UTC)&lt;br /&gt;
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==Lo, Minh Thao==&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
1 孔子（公元前551～公元前479）名丘，字仲尼，是中华文化思想的集大成者，儒家学说的创始人。我国古代伟大的思想家、政治家、教育家。他的哲学思想提倡“仁义”，“礼乐”，“德治教化”,儒学思想渗入中国人的生活，文化领域中，同时也影响了世界上其它地区的大部分人近两千年。&lt;br /&gt;
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Confucius (551BC-479 BC), whose name is Qiu, courtesy name Zhong Ni, is the master of Chinese culture and thought and the founder of Confucianism. He is a great thinker, statesman and educator in ancient China. His philosophy advocated &amp;quot;benevolence and righteousness&amp;quot;, &amp;quot;rites and music&amp;quot;, and &amp;quot;moral education&amp;quot;. Confucianism permeated the life and culture of the Chinese people, and also influenced most people in other parts of the world for nearly two thousand years.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 19 December 2020 (UTC)&lt;br /&gt;
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2 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as the native religion. Taoism had a profound influence on the politics, economy and culture of ancient China and was one of the three spiritual pillars of the ruling class. After the founding of the People's Republic of China, Taoism gained a new life through the democratic reform of the religious system and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, reunification of the motherland and world peace.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:14, 19 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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1.在大同的世界里，天下的人，不止以自己的家人为亲，不止以自己的父母儿女为爱，而是相互敬爱，爱天下所有的人。使老有所终，壮有所用，孩子们都能获得温暖与关怀，孤独的人与残疾者都有所依靠，男人各自有自己的事情，女人有满意的归宿。&lt;br /&gt;
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Love each other not only in our family, but also in the world. Make the old have a home, strong and useful, children can get warmth and care, lonely people and the disabled can rely on others, men have their own businesses, women have a satisfactory home.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)&lt;br /&gt;
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2.儒家认为平等是来自于人性，人性是善良的那么人类社会也应该是善良的，既被证成的平等；而道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。&lt;br /&gt;
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Confucianism believes that equality comes from human nature, and human nature is good, so human society should also be good, which is proved to be equality; while Taoism believes that equality has achieved good results in the past, then on the basis of the existing equality cognition, the society should develop better now and in the future. However, the Confucian ethical class hindered the development of human beings and became the banner of exploiting the common people by the feudal lords，therefore, it is necessary to eliminate all kinds of ideologies without benevolence, to achieve a society that is satisfactory to all human beings, which is already recognized as equality.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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1.君子坦荡荡，小人长戚戚。&lt;br /&gt;
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A gentleman is open and poised; while a petty man is unhappy and worried.&lt;br /&gt;
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The gentleman is calm and at ease, while the small man is always full of anxiety. --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)&lt;br /&gt;
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2.人法地，地法天，天法道，道法自然。&lt;br /&gt;
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The person reflects the earth.The earth reflects heaven. Heaven reflects the Way. And the Way reflects its own nature.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:46, 17 December 2020 (UTC)Mo Ling&lt;br /&gt;
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Men must conform to the earth, earth to heaven, heaven to Tao and Tao to nature.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)&lt;br /&gt;
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==Ngo, Thi Minh Huong==&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
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1. 经由董仲舒重新解释和发挥的儒教教义，十分重视礼仪制度的建设，特别是其中祭天、祭祖的礼仪制度建设。完备而复杂的礼仪制度有助于人们养成遵守秩序、安分守己的习惯，这正是儒教重视礼仪的重要目的之一。&lt;br /&gt;
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Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and bahaving properly, which is one of the important purposes for Confucianism to emphasize rites.&lt;br /&gt;
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Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and conducting themselves, which is one of the important purposes for Confucianism to emphasize rites.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:17, 19 December 2020 (UTC)&lt;br /&gt;
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2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。&lt;br /&gt;
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Daoists regard Tao as the origin of the world. In politics, they uphold that Tao is to conform to the nature and advocated governing by doing nothing. According to the understanding of Tao and doing nothing, there are different denominations of Daoism focusing on different thoughts, some of which focus on governing and some on self-cultivation.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:25, 17 December 2020 (UTC)&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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==Phyo, Su Kyi==&lt;br /&gt;
1-儒家通过等级制度的传播而传播。这种宗教是由于中国人对邻国的影响而传承的。儒家思想从其在山东的地盘传到了中国的北部和南部地区。&lt;br /&gt;
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Confucianism diffused through hierarchical diffusion. This religion was passed on through the Chinese's influence on their neighboring countries. Confucianism spread from its hearth in the Shandong province into China's northern and southern territories.&lt;br /&gt;
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2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。&lt;br /&gt;
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Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:43, 18 December 2020 (UTC)Su kyi&lt;br /&gt;
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==Pingki, Tanchangya==&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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1. 董仲舒提出“春秋大一统”和“罢黜百家，独尊儒术”，强调以儒家思想为国家的哲学根本，杜绝其他思想体系。汉武帝采纳了他的主张。从此儒学成为正统思想，研究四书五经的经学也成为了显学。此时，孔子已死三百余年。董仲舒在具体的政策上将道家，阴阳家和儒家中有利于封建帝王统治的部分加以发展，形成了新儒家思想。&lt;br /&gt;
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Dong Zhongshu proposed the &amp;quot;Great Unification of the Spring and Autumn Period&amp;quot; and the &amp;quot;Dismissal of the Hundred Schools and Exclusive Respect for Confucianism&amp;quot;, emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.&lt;br /&gt;
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Dong Zhongshu proposed the &amp;quot;Great Unification of the Nation&amp;quot; and the &amp;quot;Dismissal of the Hundred Schools and Exclusive Respect for Confucianism&amp;quot;, emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang School and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:25, 19 December 2020 (UTC)&lt;br /&gt;
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2. “道”是中国古代哲学的重要范畴，用以说明世界的本原、本体、规律或原理。在中国哲学史上，“道”这一范畴为道家首先提出。道的原始涵义指道路、坦途，以后逐渐发展为道理，用以表达事物的规律性。这一变化经历了相当长的历史过程。春秋后期，老子最先把道看作是宇宙的本原和普遍规律，成为道家的创始人。以后，在不同的哲学体系中其涵义虽有不同，但基本上成为世界本原、本体、规律或原理的代名词。&lt;br /&gt;
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&amp;quot;Tao&amp;quot; is an important category in ancient Chinese philosophy, which is used to describe the origin, essence, law or principle of the world. In the history of Chinese philosophy, the category of &amp;quot;Tao&amp;quot; was first introduced by the Taoists. The original meaning of Dao refers to the path, the straight path, and later it gradually developed into reason, which is used to express the regularity of things. This change has gone through a rather long historical process. In the late Spring and Autumn period, Laozi first regarded Tao as the origin and universal law of the universe and became the founder of Taoism. Later, although its meaning differs in different philosophical systems, it basically became a synonym for the origin of the world, the essence, the law or the principle.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:59, 17 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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1.儒家思想指的是儒家学派的思想，由春秋末期思想家孔子所创立。孔子创立的儒家学说在总结、概括和继承了夏、商、周三代尊尊亲亲传统文化的基础上形成的一个完整的思想体系。&lt;br /&gt;
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Confucianism refers to the thought of Confucianism, which was founded by the thinker Confucius in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)&lt;br /&gt;
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2.道家的起源，可以一直追溯到春秋战国时期。道家思想的形成是以总结、发展、写著典籍为主要路径，每一次思想的跳跃都经历了极其长时间的众人积累，这也再一次的凸显了道家的生命力。&lt;br /&gt;
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The origin of Taoism can be traced back to the spring and Autumn period and the Warring States period. Taoist thought is formed with summary, development, and writings of classics as the main path. Every leap of thought has experienced an extremely long time of mass accumulation, which once again highlights the vitality of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
1. 孔子创立了以仁为核心的道德学说，他自己也是一个很善良的人，富有同情心，乐于助人，待人真诚、宽厚。“己所不欲，勿施于人”、“君子成人之美，不成人之恶”、“躬自厚而薄责于人”等等，都是他的做人准则。&lt;br /&gt;
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Confucius founded the moral theory with benevolence as the core. He was also a very kind person, full of compassion, willing to help others, sincere and generous. &amp;quot;Don't do to others what you don't want to do to others&amp;quot;, &amp;quot;the beauty of a gentleman, the evil of a man who is not a man&amp;quot;, &amp;quot;bow oneself to thick and thin blame to others&amp;quot;, and so on, are his principles of conduct.&lt;br /&gt;
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Confucius founded the moral theory with benevolence as the core. He himself was also a very kind person full of compassion who is willing to help others with sincerity and generousity. &amp;quot;Don't do to others what you don't want to do to others&amp;quot;, &amp;quot;the beauty of a gentleman, the evil of a man who is not a man&amp;quot;, &amp;quot;bow oneself to thick and thin blame to others&amp;quot;, and so on, are his principles of conduct.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:34, 18 December 2020 (UTC)&lt;br /&gt;
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2. 新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the party and the government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:06, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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After the founding of the people's Republic of Chin, Chinese Taoism has gained a new life and gradually embarked on the road to adapt to the socialist society through its democratic reform of the religious system. Since the reform and opening up, under the guidance of the Party and the Chinese Government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:29, 18 December 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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1. 孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,海人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。&lt;br /&gt;
Confucius founded the school of Confucianism, which had a profound influence on China and its neighboring countries. He was the first person in Chinese history to devote himself to the cause of education, as he never tired of learning and never tired of the sea.&lt;br /&gt;
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Confucius founded the school of Confucianism, profoundly influencing China and its neighboring countries. He was the first Chinese throughout history to devote himself to the cause of education, for never being tired of learning and teaching. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:33, 18 December 2020 (UTC)&lt;br /&gt;
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2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。&lt;br /&gt;
Taoism takes the Tao as the origin of the world, and the role of the Tao is to be soft and follow the path. In politics, Taoism advocates the rule of inaction, and because of the different understanding of the Tao and inaction, it is divided into different schools, and the focus of thought differs between different schools, either favoring the rule of the state, or favoring the rule of the body, etc.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:08, 17 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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1.中庸精神随着时间的推移，其价值和重要性必将日益显现出来，这一点已经有所表现。中庸之道是世界上最具有连续性的文化，也是中国众多文化流派中最具有价值的核心精神和观念。&lt;br /&gt;
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1.With the passage of time, the value and importance of the spirit of the mean will become increasingly apparent, which has already been demonstrated. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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With the passage of time, the value and importance of the spirit of the mean, already demonstrated, will become increasingly apparent. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:27, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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2.道教文学艺术就是以宣传道教教义、神仙长生思想以及反映其宗教生活为题材的内容的各种形式的文学艺术作品。文学艺术可以扩大道教的社会影响，进而提高道教的宗教素质。反过来，道教的神仙信仰也给中国文学艺术的发展巨大的影响。&lt;br /&gt;
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2.Taoist literature and art are literary and artistic works in various forms that promote Taoist doctrines, the thoughts of immortal longevity, and reflect their religious life. Literature and art can expand the social influence of Taoism, thereby improving the religious quality of Taoism. In turn, Taoist belief in immortals has also had a huge impact on the development of Chinese literature and art.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
1.儒家思想对中国文化的影响很深。传统的责任感思想、节制思想和忠孝思想，都是它和封建统治结合的结果，因此，儒家思想是连同我们当代在内的主流思想。儒学在中国存在几千年，对于中国的政治、经济等各个方面依然存在巨大的潜在影响。&lt;br /&gt;
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Confucianism has had a profound influence on Chinese culture。The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism is the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has a huge potential influence on all aspects of Chinese politics and economy.&lt;br /&gt;
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Confucianism has had a profound influence on Chinese culture. The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism has been the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has maintain a huge potential influence on all aspects of Chinese politics and economy.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:48, 18 December 2020 (UTC)&lt;br /&gt;
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2．和谐文化建设是构建社会主义和谐社会的要义之一。中国传统道教文化对中国社会产生了深远的影响。在当今构建和谐社会的进程中,道教文化依然有其独特的存在价值。&lt;br /&gt;
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The building of a harmonious culture is one of the essentials for building a harmonious socialist society. The traditional Chinese Taoist culture has had a profound influence on Chinese society. In the process of building a harmonious society today, Taoist culture still has its unique value to exist.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 09:14, 17 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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The construction of a harmonious culture is one of the essentials of a harmonious socialist society. Taoist culture, a traditional Chinese culture, has exerted a profound influence on Chinese society. It still embraces unique value in today's building of a harmonious society. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:29, 17 December 2020 (UTC)&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
1.孔子学院是中外合作建立的非营利性教育机构，致力于适应世界各国（地区）人民对汉语学习的需要，增进世界各国（地区）人民对中国语言文化的了解。&lt;br /&gt;
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Confucius Institutes are non-profit educational institutions jointly established by China and other countries. They are dedicated to meeting the needs of people in all countries (regions) for Chinese learning and promoting their understanding of Chinese language and culture.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)&lt;br /&gt;
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The Confucius Institute is a non-profit educational institution established through Sino-foreign cooperation, dedicated to meeting the needs of people around the world for Chinese language learning and enhancing their understanding of Chinese language and culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)&lt;br /&gt;
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2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Since the reform and opening up, under the guidance of the religious policies of the CPC and the government in the new era, Taoism in China has shown an unprecedented look and made positive contributions to promoting economic development, social harmony, reunification of the country and world peace.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)&lt;br /&gt;
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Since the reform and opening up, under the guidance of the Party and the government's religious policies in the new era, Chinese Taoism has taken on a new and unprecedented appearance, making positive contributions to the economic development, social harmony, reunification of the motherland and world peace.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
1. 孔子去世后，其弟子及再传弟子把孔子及其弟子的言行语录和思想记录下来，整理编成《论语》。该书被奉为儒家经典。&lt;br /&gt;
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After the death of Confucius, his students wrote down all conversations they had with their teacher and then compiled them into the Analects, which has been regarded as a classic of Confucianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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After the death of Confucius, his disciples and re-disciples recorded the words and thoughts of Confucius and his disciples and compiled them into the ''Analects'', which is regarded as a classic of Confucianism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)&lt;br /&gt;
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2. 《老子》书提出以“道”为核心的哲学思想体系。它以道为宇宙的根本，阐述了道的本质、特点及其运动变化的规律。&lt;br /&gt;
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The book Laozi establishes a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The book, ''Laozi'', presents a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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1. 南北朝时期（420一589）是道教进一步充实完善的时代，是道教走上成熟的时代，出现了众多的道教改革家、理论家，他们的活动对后世道教有着重要的影响。&lt;br /&gt;
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1. The Southern and Northern Dynasties period (420-589) was a time when Taoism was further enriched, a time when Taoism came to maturity and numerous Taoist reformers and theorists emerged, having an important influence on the development of Taoism.&lt;br /&gt;
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Taoism was further developed and came to maturity in the Southern and Northern Dynastie(420-589) when numerous Taoist reformers and theorists emerged and their activities had an important influence on the development of Taoism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:47, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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2. 曲阜孔庙为纪念孔夫子而兴建，千百年来屡毁屡建，到今天已经发展成超过100座殿堂的建筑群。&lt;br /&gt;
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2. The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and built again and again over the centuries. Today, it has grown into a building complex of over 100 palaces today.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:19, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and rebuilt again and again over the past centuries. Today, it has grown into a building complex of over 100 palaces.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:49, 17 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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1.儒家的“德治”主义就是主张以道德去感化教育人。儒家认为，无论人性善恶，都可以用道德去感化教育人。这种教化方式，是一种心理上的改造，使人心良善，知道耻辱而无奸邪之心。&lt;br /&gt;
The Confucian &amp;quot;rule of virtue&amp;quot; doctrine advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is good or bad, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people good-hearted, knowing the shame and not being evil.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)&lt;br /&gt;
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Confucian doctrine of &amp;quot;rule of virtue&amp;quot; advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is, good or evil, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people kind-hearted and knowing the shame but not being evil.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)&lt;br /&gt;
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2.“己所不欲，勿施于人”、“躬自厚而薄责于人” 等，都是孔子的做人准则。&lt;br /&gt;
&amp;quot;Do not do to others what you do not want to do to others&amp;quot;, &amp;quot;self-respect and responsibilities to others&amp;quot; are all Confucius’s principles of life.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;Do not do to others what you do not want to do to yourself&amp;quot; and &amp;quot;self-respect and responsibilities to others&amp;quot; are both Confucius's codes of conduct.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)&lt;br /&gt;
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3.认为天地万物都有&amp;quot;道&amp;quot;而派生，即所谓&amp;quot;一生二，二生三，三生万物&amp;quot;，社会人生都应法&amp;quot;道&amp;quot;而行，最后回归自然。&lt;br /&gt;
It is believed that all things in heaven and earth are derived from &amp;quot;Tao&amp;quot;, which is the so-called &amp;quot;One life two, two life three, three life all things&amp;quot;, social life should follow the law &amp;quot;Tao&amp;quot; and finally return to nature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)&lt;br /&gt;
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It is believed that all things in heaven and earth are derived from &amp;quot;Tao&amp;quot;, which is the so-called &amp;quot;Two in one, three in two, three in all&amp;quot;. Social life should all follow the law &amp;quot;Tao&amp;quot; and finally return to nature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
1.孔子追求的“礼”，是西周时的等级名分制度。为了实现“礼”，孔子进一步提出了“正名”的主张。&lt;br /&gt;
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Confucius's pursuit of &amp;quot; rites &amp;quot; is the Western Zhou Dynasty hierarchy system.In order to realize the &amp;quot; rites &amp;quot;, Confucius further put forward the &amp;quot; rectification of name &amp;quot;.&lt;br /&gt;
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The &amp;quot;ritual&amp;quot; pursued by Confucius was the hierarchical system of the Western Zhou Dynasty. In order to realize &amp;quot;li&amp;quot;, Confucius further proposed the idea of &amp;quot;rectification of name&amp;quot;.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:59, 19 December 2020 (UTC)&lt;br /&gt;
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2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象,为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。 &lt;br /&gt;
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Since the reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:39, 18 December 2020 (UTC)&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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1、孔子是中国思想史上第一个把道德作为做人和治国首要条件和最高标准提出来的哲人。道德的核心是仁。儒家提倡人与人之间的仁和礼。今天，在中国和其他许多国家，儒学的研究正在迅速增长。&lt;br /&gt;
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Confucius was the first philosopher in China's ideological history to propose moral standards as the prior criterion for man's behaviour and governing a country.The core of morality is benevolence. Confucianism advocates benevolence and courtesy among people. Today, in China and many other countries, the study of Confucianism is rapidly growing.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)&lt;br /&gt;
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Confucius was the first philosopher in the history of Chinese thought to put morality as the primary and highest standard for being a man and governing a country. The core of morality is benevolence. Confucianism advocates benevolence and etiquette among people. Today, in China and many other countries, the study of Confucianism is growing rapidly. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)&lt;br /&gt;
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2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。 &lt;br /&gt;
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Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)&lt;br /&gt;
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Taoism is a religion inherent in China, with a history of more than 1,800 years. It is deeply rooted in the fertile soil of China, with distinctive Chinese characteristics, and a profound impact on overall Chinese culture. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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孔子在卫国住了约10个月，因有人在卫灵公面前进谗言，卫灵公对孔子起了疑心，派人公开监视孔子的行动，因此孔子带弟子离开卫国，打算去陈国。&lt;br /&gt;
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Confucius lived in Wei State for about 10 months. Due to someone advancing slander in front of Duke Ling of Wei, he became suspicious of Confucius and sent people to publicly monitor Confucius. Therefore, Confucius led his disciples to leave Wei and planned to go to Chen State. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)&lt;br /&gt;
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道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。&lt;br /&gt;
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Daoism inherited and developed Taoism thought in the pre-Qin period, taking &amp;quot;Dao&amp;quot; as the highest belief, evolving from it the highest classics, the highest Daoism and the supreme gods, and building a huge system of classic Daoism gods. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)&lt;br /&gt;
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1. Confucius stayed in Wei for about 10 months, but when someone slandered him in front of Duke Weiling, he became suspicious of Confucius and sent people to monitor his movements openly. Therefore, Confucius left Wei with his disciples to Chen. &lt;br /&gt;
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2. Inheriting and developing the pre-Qin dynasty Taoist thought, it holds “Tao” as the highest belief, evolving the highest classics, the highest Taoist arts and the highest deities, forming a huge system of classical Taoist arts and deities.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:22, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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1.在长期的教学实践活动中，孔子积累和总结了很多教学经验。他主张因材施教，根据学生的不同特点分别指导。&lt;br /&gt;
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In the long-term teaching practice, Confucius has accumulated and summarized a lot of teaching experience. He advocated teaching students in accordance with their aptitude and instructing them separately according to their different features.&lt;br /&gt;
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In the long-term teaching practice activities, Confucius has accumulated and summed up a lot of teaching experience. He advocates teaching students in accordance with their aptitude and guiding students according to their different characteristics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 14:01, 19 December 2020 (UTC)&lt;br /&gt;
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2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。&lt;br /&gt;
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As a religious entity, Taoism not only has its unique classical doctrine, immortal belief and ritual activities, but also has its religious inheritance, organization of religious groups, system of discipline and places for religious activities.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:27, 18 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
1.孔子的经济思想最主要的是重义轻利、“见利思义”的义利观与“富民”思想。这也是儒家经济思想的主要内容，对后世有较大的影响。&lt;br /&gt;
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The most important economic thought of Confucius is the value of justice over profit, the view of righteousness and benefit, and the thought of enriching the people. This is also the main content of Confucian economic thought, which has great influence on later generations.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)&lt;br /&gt;
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Confucius'economic thought mainly consists of the concept of justice and benefit, the concept of justice and benefit and the thought of enriching the people.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:41, 18 December 2020 (UTC)&lt;br /&gt;
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2.道教哲学和宗教已经渗透到所有受中国影响的亚洲文化中，尤其是越南、日本和韩国的文化。在受中国文化影响的地区，各种宗教习俗让人想起道教，这表明他们与中国游客和移民的早期接触还没有被阐明。&lt;br /&gt;
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Daoist philosophy and religion have found their way into all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)&lt;br /&gt;
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Daoist philosophy and religion have infiltrated all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:31, 18 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。&lt;br /&gt;
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Taoism before liberation was represents strong feudal atmosphere. It became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)&lt;br /&gt;
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Taoism before liberation was in strong feudal atmosphere. Therefore, it became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:29, 17 December 2020 (UTC)&lt;br /&gt;
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孔子，姓孔，名丘，字仲尼，公元前551年，出生于春秋后期的鲁国。&lt;br /&gt;
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Confucius is known as Kong Qiu, a combination of his surname and his given name, and he is also named as Zhongni, which is his courtesy name.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
1.儒教是孔子所创立、孟子所发展、荀子所集其大成，之后延绵不断，为历代儒客推崇，至今仍有一定生命力的学术流派。&lt;br /&gt;
Confucianism is an academic school which was founded by Confucius, developed by Mencius, and epitomized by Xuncius. It has continued to be admired by scholars of Confucianism and remined vitality until today.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
Among the five major religions in our country, Taoism is the only one that originated in China and was founded by Chinese, so it is also called a local religion of China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
&lt;br /&gt;
1.身处乱世的孔子所主张的仁政没有施展的空间，但在治理鲁国的三个月中，使强大的齐国也畏惧孔子的才能，足见孔子无愧于杰出政治家的称号。&lt;br /&gt;
&lt;br /&gt;
The benevolent government advocated by Confucius in troubled times has no room for display, but during the three months of ruling Lu State, the powerful Qi State also feared Confucius’ talents, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the troubled times, Confucius' benevolent rule had no room to be exercised, but in the three months he ruled the state of Lu, he made even the powerful state of Qi fear Confucius' talent, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。&lt;br /&gt;
&lt;br /&gt;
Taoism inherited and developed Taoism thought in the pre-Qin period, taking &amp;quot;Tao&amp;quot; as the highest belief, and evolving from it the highest classics, the highest Taoism and the highest gods, and building a huge system of classic Taoism gods.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Taoism inherited and developed Taoist thought from the pre-Qin dynasty, taking &amp;quot;Tao&amp;quot; as the highest belief, evolving from it the highest classics, the highest Taoist arts and the highest deities, and building a huge system of classical Taoist deities.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Ling 张玲==&lt;br /&gt;
&lt;br /&gt;
1. 孔子63岁时，曾这样形容自己：“发愤忘食，乐以忘忧，不知老之将至。”当时孔子已带领弟子周游列国9个年头，历尽艰辛，不仅未得到诸侯的任用，还险些丧命，但孔子并不灰心，仍然乐观向上，坚持自己的理想，甚至是明知其不可为而为之。&lt;br /&gt;
&lt;br /&gt;
When Confucius was 63 years old, he used to describe himself as, &amp;quot;(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age.&amp;quot; At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, but he almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
When Confucius was 63 years old, he used to describe himself as, &amp;quot;(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age.&amp;quot; At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, and even almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:52, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2. 作为中华文化最重要的两翼，道家和儒家的关系比较复杂，它们之间有互相学习的一面，也有互相对立的一面。&lt;br /&gt;
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As the two most important components of Chinese culture, Daoism and Confucianism have a complicated relationship, with both learning from each other and opposing each other. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)&lt;br /&gt;
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As the two most important wings of Chinese culture, Taoism and Confucianism have a complex relationship. Specifically, they are mutually reinforcing and antagonistic.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:34, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
道教是中国的本土宗教，道教主张天人合一，东汉末年出现大量的道教组织。&lt;br /&gt;
&lt;br /&gt;
Taoism is China's indigenous religion advocating the unity of heaven and man.The end of the Eastern Han Dynasty appeared a large number of Taoist organizations.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Taoism is an indigenous religion of China and it advocates the unity of heaven and man. A large number of Taoist organizations appeared in the late Eastern Han Dynasty. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
儒学思想，是先秦诸子百家学说之一。儒学文化是以儒家学说为指导思想的文化宗派，为春秋时期孔丘所创。&lt;br /&gt;
&lt;br /&gt;
Confucianism is one of the schools of thought in the pre-Qin dynasty. Confucianism is a school of culture guided by Confucianism. It was created by Confucius in the Spring and Autumn Period.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is a cultural sect with Confucianism as its guiding ideology, created by Confucius during the Spring and Autumn Period. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==&lt;br /&gt;
&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
1.儒家经书是四书五经，但儒家早期以五经为主，在佛教禅宗的挑战下，宋代程朱理学以四书取代五经的地位。&lt;br /&gt;
&lt;br /&gt;
The Confucian scriptures are the Four Books and Five Classics. However, the early Confucianism was dominated by the Five Classics. Under the challenge of Zen Buddhism, the neo-Confucianism of Song Dynasty replaced the Five Classics with the Four Books.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The Confucian scriptures are the Four Books and Five Classics, but the early Confucianism was dominated by the Five Classics. Under the challenge of Buddhist Zen Buddhism, the Song Dynasty's Cheng-Zhu Theory replaced the status of the Five Classics with the Four Books.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The scriptures of confucianism are the Four Books and Five Classics, in which the majority is the latter one at the prelimetary stage, but then the Four Books got the upper hand under the theory of Chen-zhu in the Song Dynasty.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:41, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
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2.春秋时期，老子总结了古老的道家思想的精华，形成了道家完整系统的理论，标志着道家思想已经正式成型。道家是对中华哲学、文学、科技、艺术、音乐、养生、宗教等影响最深远的学派。&lt;br /&gt;
&lt;br /&gt;
During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Daoism, marking the formal formation of Daoism. Daoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Taoism, marking the formal formation of Taoist thought. Taoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yujie 张毓婕==&lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
1.孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。&lt;br /&gt;
&lt;br /&gt;
Confucius was one of the most knowledgeable people in the society at that time, and he was honored as &amp;quot;the sage of heaven&amp;quot; and &amp;quot;the mudor of heaven&amp;quot; during his lifetime.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Confucius was one of the most erudite scholars in society at that time. He was honored as the &amp;quot;Sage of Heaven&amp;quot; and &amp;quot;Wood Duo of Heaven&amp;quot; when he was alive. The most sacred Wenxuan Wang Xianshi, Wanshishishi.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Confucius was one of the most knowledgeable people in the society at that time, and he was honored as &amp;quot;the sage from heaven&amp;quot; and is honored as &amp;quot;the mudor of heaven&amp;quot;  nowadays.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 04:05, 17 December 2020 (UTC)&lt;br /&gt;
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2.道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。&lt;br /&gt;
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Taoism has had a profound impact on the politics, economy and culture of our ancient times and was one of the three spiritual pillars of the ruling class.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)&lt;br /&gt;
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Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
==Zubareva, Ekaterina==&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_6&amp;diff=115677</id>
		<title>History of Translation Studies 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_6&amp;diff=115677"/>
		<updated>2020-12-19T12:02:04Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* The Definition of Domestication and Foreignization */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第六部分(Part 6)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''Foreignization and Domestication'''=&lt;br /&gt;
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==Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches 	汤蓓	Tang Bei==&lt;br /&gt;
&amp;lt;center&amp;gt; 汤蓓 Tang Bei, 202070080607.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation is purposeful and trans-cultural communication. And domestication and foreignization are two strategies to cope with cultural differences in translation. This thesis attempts to explain the choice of demestication and foreignization in translation by case studies from the perspective of functionalist approaches.&lt;br /&gt;
&lt;br /&gt;
Translation is a purposeful and trans-cultural communication. And domestication and foreignization are two strategies to cope with cultural differences in translation. This thesis attempts to explain the choice of demestication and foreignization in translation by case studies from the perspective of functionalist approaches.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:30, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
domestication; foreignization;functionalist approaches&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译是一种有目的的跨文化交际，处理翻译的文化差异可以使用两种方法：归化和异化。本文从德国功能派翻译理论出发，利用该理论的主要观点，从翻译功能的角度分析译者在翻译过程中对翻译的两大策略——归化与异化的选择做出解释。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
归化；异化；功能派理论&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
Translation, bridging the world of different cultures together, is a cross-cultural activity to the essence as well as an important medium to promote cultural communication. However, due to the differences between materials, customs, religions, thoughts, living environments and language systems, cultural gaps, independent of man’s will, exist objectively, which cause the main difficulties in cultural communication. Only by adopting proper translation strategies can translators reduce cultural conflicts and effectively achieve cultural communication. There are arguments in translation circles on which translation strategy is the better one to remove cultural confusion and promote cultural communication. Domestication and foreignization are two points at issue. Some are for domestication, and some are for foreignization.&lt;br /&gt;
&lt;br /&gt;
In 1970s, the German functionalist approaches emerged. “Functionalist” means focusing on the function or functions of texts and translations. Functionalism is a broad term for various theories that approach translation in this way. Although Skopostheory has played a major role in the development of this trend. For the functionalist, translation is a purposeful activity, Nord had mentioned that a complex action designed to achieve a particular purpose.(Nord,1997) .The top-ranking rule for any translation is thus the “Skopos rule”, that is “the end justifies the means” (Nord 1997:29). Plus Holz-Manttari’s theory of tranlational action, Reiss’s text typology, the functionalism is intended to solve the eternal dilemma of many issues in translation studies, and the strategies of domestication and foreignization are without exception.&lt;br /&gt;
&lt;br /&gt;
From the perspective of functionalist approaches, the choice of translation strategies depends on the functions of the texts, the Skopos. To achieve the prospective purposes, the translator has the freedom to choose the method he needs domestication or foreignization, or both. The functionalist approaches provided a perspective of translation studies.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:24, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter1: Brief Introduction of Domestication and Foreignization===&lt;br /&gt;
====Definition of Domestication and Foreignization====&lt;br /&gt;
Domestication and foreignization, two different yet functionally related strategies, the two terms were formally put forward by Laurence Venuti, aiming at explaining two kinds of translation strategies in The Translator’s Invisibility in 1995. Venuti claimed that he traced the root of the terms back to Friedrich Schleiermacher’s famous notion about translation. Schleiermacher, a German theologian and philosopher, said in a lecture in 1813 on the different methods of translation, which stated that “There are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him” (Venuti 1995:37).&lt;br /&gt;
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According to Venuti, “domestication means bringing the foreign culture closely to the reader in the target culture, making the text recognizable and familiar. Foreignization, on the other hand, means taking the reader over to the foreign culture and making him or her see the differences” (Venuti 1995:148).&lt;br /&gt;
&lt;br /&gt;
Mark Schuttleworth and Moria Cowie defined domestication and foreignization in the following way: “Domesticating translation is a term used by Venuti to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers”, while “Foreignizing translation is a term used by Venuti to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original”. (Schaffner 1995:21)&lt;br /&gt;
&lt;br /&gt;
To sum up above, the conclusion can be drawn like this: domestication refers to a reader-oriented translation which makes use of acceptable expressions in the target culture to make the target text easy to understand and suitable for the target text readers. Foreignization translation is a culture-oriented translation, which tries to retain the charm of the original text as much as possible in order to preserve the flavour of the original text.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:26, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Supporter of Domestication and Foreignization====&lt;br /&gt;
Eugene. A. Nida, a famous American translation theorist dedicated to the communicative function of translation, is widely considered to be the most important  supporter for domestication. Nida understands the concepts of domestication and foreignization as “dynamic or functional equivalence” and “formal equivalence” or “formal correspondence”. Dynamic equivalence is a principle of translation. According to this principle, the translators translate the original text with the purpose of making the impact of target language wording on the target culture readers. (Nida&amp;amp;Taber, 1969:200). He argues that, “Under normal circumstances, translators always change the form of the original text ,but as long as the conversion rules change the consistency of transfer in the context of the source language to follow the rules and follow the anti-conversion target language, then the information is retained, and translation is faithful”. (Nida, 1964:118) &lt;br /&gt;
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Nida divides equivalence into two levels : the lowest level and the highest level of equivalence. The lowest level on the translation is of important and basic requirements; while the highest level on the translation is the ideal, and is therefore difficult to achieve. If the translator is unable to achieve the lowest level of equivalence, it is not enough. He also states that: “The purpose of dynamic equivalence in the translation is to achieve natural expression and to link the receptor and relevant behavior patterns within receptor’s cultural context.” (Nida, 1964:165) &lt;br /&gt;
&lt;br /&gt;
The natural expression indicates fluency is very important to this translation theory. Apparently, domestication in Nida’s works is involved in this fluency. Nida and other proponents of domestication have their own reasons: First, it is not only unrealistic, but also dangerous for translators to try to impose the linguistic and cultural norms of the source text on the target text. Language barriers and cultural barriers should be overcome in a good translation. Second, since translation is an important and necessary medium in both cross-linguistic and cross-cultural communication, the behavior patterns of the target culture should absorb some parts of the source culture in translation. Third, the language of the translated text should be natural, authentic and understandable, which is one of the requirements of translation. This requirement aims to avoid the misunderstanding caused by the target audience because of the language barriers. Domestication is considered to be the most important from the perspective of  “natural expression” in Nida translations.&lt;br /&gt;
&lt;br /&gt;
While Venuti, who is the famous representative of the foreignization school questioned Nida’s translation strategy, and proposed his own “resistant strategy” against the dominant fluency. He argues that “cultural differences will be contained in fluent translation strategy, which in fact is a practice of cultural imperialism” (Venuti, 1995:20). Venuti points out that foreignizing strategy of resistance is a pressure on those values to show the linguistic and cultural differences between the original and the translated text. By resisting the dominant cultural values, the role of resistant strategy in questioning, changing and destroying the native cultural norms is positive. With the destruction of the cultural norms of the target language, foreignization translation maintains foreignness and culture unique. &lt;br /&gt;
&lt;br /&gt;
While Venuti, who is the famous representative of the foreignization school questioned Nida’s translation strategy, and proposed his own “resistant strategy” against the dominant fluency. He argues that “cultural differences will be contained in fluent translation strategy, which in fact is a practice of cultural imperialism” (Venuti, 1995:20). Venuti points out that foreignizing strategy of resistance is a pressure on those values to show the linguistic and cultural differences between the original and the translated text. By resisting the dominant cultural values, the role of resistant strategy in questioning, changing and destroying the native cultural norms is positive. With the destruction of the cultural norms of the target language, foreignization translation maintains foreignness and culture uniqueness. &lt;br /&gt;
&lt;br /&gt;
Venuti sees domestication as a way for a strong culture to exert cultural hegemony over a weak culture. Considering the cultural inequality, domestication has more significance. Thus, “the foreignization translation in English can be a form which is based on the interests of democratic geopolitical relations. Venuti’s foreignizating strategy of resistance has a positive impact on studies about translation. He focuses translation not only on the language level, nor only view domestication and foreignization as translation strategies.&lt;br /&gt;
&lt;br /&gt;
Venuti sees domestication as a way for a strong culture to exert cultural hegemony over a weak culture. Considering the cultural inequality, domestication has more significance. Thus, “the foreignization translation in English can be a form which is based on the interests of democratic geopolitical relations. Venuti’s foreignizating strategy of resistance has a positive impact on studies about translation. He focuses translation neither only on the language level, nor only view domestication and foreignization as translation strategies.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:30, 18 December 2020 (UTC)&lt;br /&gt;
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Venuti and other proponents of foreignization argue reasons as following: First of all, “cultural authenticity” which embodies the characteristics of a foreign culture is one of the basic principles of foreignization translation. Only through the destruction of cultural norms of the target language, can foreignization maintain foreignness and cultural characteristics of foreign text. The supporters for foreignization hold that the target readers want to feel exoticism of the translated text. The translators should present a new cultural identity to the readers, because that is the purpose of the reader to read translated works. Thus readers may know the real outside world through translated works. The translators should have confidence in the readers’ intelligence and imagination to appreciate cultural differences. Third, the exchange and dissemination of culture should be one of the main purposes of the translation. The introduction of authentic exotic culture promotes cultural exchanges. Only when translation can transfer the source linguistic phenomenon and cultural phenomenon, can it be seen as faithful translation. Cultural communication can improve the development and prosperity of the local culture by means of foreignization translation. The local culture can be greatly enriched by absorbing nutritious heterogeneous culture. The culture of a nation will become energetic and influential through an open and receptive attitude towards foreignness.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:28, 11 December 2020 (UTC)&lt;br /&gt;
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====My Understanding on Domestication and Foreignization====&lt;br /&gt;
As it is known that the argument about domestication and foreignization has a long period history. In these arguments, the translators always focus on one while ignores the another. In fact, domestication and foreignization have both its advantages and disadvantages. Actually, we should learn these two kinds of strategies from the perspective of a neutral standpoint. From above mentioned, it can be concluded that domestication can effectively avoid the misunderstanding of the original text by cultural differences. Translation is a kind of cultural exchange, and the main task of the translator is to establish effective communication between different cultures by eliminating cultural conflicts. Such communication may be effective in the source culture, but may not be effective in the target culture. The target audience can easily interpret the translated text in terms of their familiar cultural norms. If the information in the translation is within the understanding of the target audience, this translation can better convey the message. If not, the message may be misunderstood. &lt;br /&gt;
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As is known that the argument about domestication and foreignization has a long period history. In these arguments, the translators always focus on one while ignores the another. In fact, domestication and foreignization have both its advantages and disadvantages. Actually, we should learn these two kinds of strategies from a neutral standpoint. From above mentioned, it can be concluded that domestication can effectively avoid the misunderstanding of the original text by cultural differences. Translation is a kind of cultural exchange, and the main task of the translator is to establish effective communication between different cultures by eliminating cultural conflicts. Such communication may be effective in the source culture, but may not be effective in the target culture. The target audience can easily interpret the translated text in terms of their familiar cultural norms. If the information in the translation is within the understanding of the target audience, this translation can better convey the message. If not, the message may be misunderstood.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:30, 18 December 2020 (UTC)&lt;br /&gt;
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While in foreignization, it can be concluded that the target readers want to experience a foreign culture. In other words, it is usually presumed that understanding foreign culture is one of the main purposes of the target readers in reading translated works. Generally speaking, foreignization is relatively smoother, simpler, clearer and more conventional, and can entertain ordinary readers and achieve a lively effect because the expression and style of such translation are familiar to the target readers. Foreignization is somewhat clumsy, unnatural and unfamiliar, and can be used to introduce foreign culture, history and philosophy, and let readers feel the exotic culture and customs. However, foreign cultural images and language features may cause information overload for readers. In a word, both domestication and foreignization have its advantages and disadvantages so it is hard to say which one is better. So we need a theoretical framework to guide us how to choose the translation strategy.&lt;br /&gt;
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:29, 11 December 2020 (UTC)&lt;br /&gt;
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===Chapter2:Brief Introduction of Functionalist Approaches===&lt;br /&gt;
====Skopos Theory====&lt;br /&gt;
Skopos theory was developed by Hans Vermeer in the late of 1970s. In the translation of non-literary text types such as scientific and academic papers, instructions for use, tourist guides, contracts etc, Vermeer came to realize that the contextual factors surrounding the translation cannot be ignored. These factors include the culture of the intended of the target text and of the client who has commissioned it, and, in particular, the function which the text is to perform in that culture for those readers. Later Vermeer and his followers continue to complete the theory and prove that it also can be applied to literary translation. Within the framework of Skopos theory, translation is not regarded as a process of transcoding, but as a specific form of human action. Like any other human action, translation has a purpose, and the word Skopos is used as a technical term for the purpose of a translation.&lt;br /&gt;
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The general and primary rule of Skopos theory is the skopos rule. Vermeer assumes that as a general rule it must be the intended purpose of the text that determines translation methods and strategies. Translation is determined by its purpose. It all depends on the Skopos of translation whether to employ domesticating or foreignizing strategy. The second general rule is the coherence rule. This rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances. The third general rule is the fidelity rule. The rule concerns intertextual coherence between translation, the outcome of translational action, and source text. It stipulates only that some relationship must remain between the two once the overriding principle of the first two rules have been satisfied. Among the three rules, the skopos rule plays the most important role while the other two should subject to it. In the Skopos theory, another important term is “translation brief” which specifies what kind of translation is needed. In the ideal situation, translator can decide what strategy to use by the translation brief given by the initiator.&lt;br /&gt;
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According to Skopos theory, a text is viewed as an “offer of information”(Reiss &amp;amp;Vermeer 1984: 139) made by a producer to a recipient. Translation is a secondary offer of information, imitating a primary offer of information. Translation is the production of a functionally appropriate target text based on an existing source text, and the relationship between the two texts is specified according to the Skopos of the translation. It is up to the translator to decide what role a source text is to play in the translation action. The decisive factor is the specified Skopos. As a result, the status of the source text is much lower in Skopos theory than in equivalence-based theories.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:34, 11 December 2020 (UTC)&lt;br /&gt;
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====Theory of Translational Action====&lt;br /&gt;
The theory of translational action was developed by Holz-Manttari in1980s. The theory is based on the principles of action theory put forward by Wright and Rehbein and is designed to cover all forms of intercultural transfer. In her model, translational action is “the process of producing a message transmitter of a certain kind, designed to be employed in superordinate action systems in order to coordinate actional and communicative cooperation” or “a complex action designed to achieve a particular purpose” (Nord, 1997).The primary purpose of translational action is to enable cooperative, functionally adequate communication to take place across cultural barriers. Holz-Manttan pays special attention to the actional aspects of the translation process and she analyzes the roles of the participants (such as initiator,translator, user, message receiver) and the situational conditions (time, place, medium) in which their activities take place. In her model, the source text is viewed as a mere tool for the realization of communicative functions. It is a text to which a translation initiator, a client, has assigned the function of serving as source material for translational action. It is totally subordinate to its purpose and is afforded no intrinsic value, thus it may undergo radical modification in the interest of the targeted reader.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:36, 11 December 2020 (UTC)&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
The text typology of functionalist approaches was developed by Reiss in the book cooperating with Vermeer in 1984. The theory is based on the “origin model” of language functions proposed by the German psychologist Karl Buhler in 1934. The three functions of his theory refer to the representation of objects and phenomena, the attitude of the text producer towards such phenomena, and the appeal to the text receiver that correspond broadly to Jackobson’s Reprecentational, Expressive and Conative functions. It is on this basis that Reiss distinguishes among the informative text, the expressive text and the operative text, each calling for particular sets of skills and strategies on the part of the translator. &lt;br /&gt;
Reiss distinguishes between two forms of text categorization, which are located on different levels of abstraction: on one hand, text types are classified according to the dominant communicative function (basically informative, expressive or operative mentioned above); on the other hand, text genres or varieties are classified according to linguistic characteristics or conventions (like those of reference books, lectures, satires or advertisements). (Nord, 1997)--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:37, 11 December 2020 (UTC)&lt;br /&gt;
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The text typology of functionalist approaches was developed by Reiss in the book cooperating with Vermeer in 1984. The theory is based on the “origin model” of language functions proposed by the German psychologist Karl Buhler in 1934. The three functions of his theory refer to the representation of objects and phenomena, the attitude of the text producer towards such phenomena, and the appeal to the text receiver that correspond broadly to Jackobson’s Reprecentational, Expressive and Conative functions. It is on this basis that Reiss distinguishes among the informative text, the expressive text and the operative text, each calling for particular sets of skills and strategies on the part of the translator. &lt;br /&gt;
Reiss distinguishes between two forms of text categorization, which are located on different levels of abstraction: on the one hand, text types are classified according to the dominant communicative function (basically informative, expressive or operative mentioned above); on the other hand, text genres or varieties are classified according to linguistic characteristics or conventions (like those of reference books, lectures, satires or advertisements). (Nord, 1997)--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:30, 18 December 2020 (UTC)&lt;br /&gt;
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===Chapter3:The Choice of Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches===&lt;br /&gt;
====From the Perspective of Skopoos Theory====&lt;br /&gt;
The Skopos theory gets its name from the Greek word “Skopos” which means “purpose”. This approach to translation stresses the purpose of the translation, which determines the translation strategies to be adopted. A translatum i.e. the translated text is determined by its Skopos. Knowing why a text is to be translated and what its function is going to be in the target culture is important in this approach. Like the summary Nord made in 1997, Skopos theory seemed to be exactly the translational model that was needed since it was pragmatic, culture-oriented, consistent, practical, normative, comprehensive and expert. The main point of this functional approach is the following: it is not the source text as such, or its effects on the source-text recipient, or the function assigned to it by the author, that determines the translation process, as is postulated by equivalence-based translation theories, but the prospective function or Skopos of the target-text as determined by the initiator’s, i.e. client’s, needs. Consequently, the Skopos is largely constrained by the target text user and his situation and cultural background.&lt;br /&gt;
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There are some examples showing the function of Skopos rule. Translators’ choices of translation strategies are often decided by their purposes. Both Yang Xianyi and David Hawkes translated Hongloumeng, one of the four Chinese classical masterpieces. However, the two translators adopted totally different strategies. Yang tends to employ foreignizing translation while Hawkes domesticating translation. The translation of the title of Hongloumeng shows the difference. Yang translated the title into “A Dream of Red Mansions” while Hawkes chosen another name of the masterpiece, “The Story of the Stone”. For Hawkes, the Chinese traditional, noble red color won’t raise the same imagination in the westerners. Contrarily, it will be connected with blood, violence and so on. Therefore, he avoided translating the character literally and resorted to another English word “green” that has more pleasant meaning in English language. As a result, “怡红院” was translated as “the house of green delights” and “怡红公子”as “green boy” . &lt;br /&gt;
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Another domesticating example is the translation of “鸳鸯” , the mandarin duck which is the symbol of true love. He used “lovebird” to replaced the specific Chinese word. In order to make the translated text easier to understand, and “谋事在人，成事在天”were rendered as “Man proposes, God disposes”. The Chinese Buddhist “heaven” becomes the western Christian “God”. Hawkes’ purpose is to entertain his English readers and he adopted those easy-understood words and phrases in English culture in spite of sacrificing the original cultural connotation. Contrarily, Yang’s purpose is to introduce the luxuriant Chinese culture to the western world. That’s why so many words and phrases with culture-specification were maintained and translated literally. His expected readers are those who are willing to know Chinese culture and to absorb new expressions. Consequently he adopted a rather foreignizing method, attempting to maintain the exotic cultural factors of source text. Examples were seen as following:&lt;br /&gt;
1.俗语说的好：“一龙九种，种种个别。”未免人多了就有鱼龙混杂，下流人物在内。(第九回)&lt;br /&gt;
“A dragon begets nice offspring, each one different.” And inevitably among so many boys there low types too, snakes mixed up with dragons.(Yang 202)&lt;br /&gt;
“There are nice kinds of dragon and no two kinds are alike”. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.(Hawkes 206)&lt;br /&gt;
2.真是天有不测风云，人有旦夕祸福。(第十一回)&lt;br /&gt;
“Truly, ‘Storms gather without warning in nature, and nature, and bad luck befalls men overnight’”.(Yang 291)&lt;br /&gt;
“I know ‘the weather and human life are both unpredictable’.”(Hawkes 294)&lt;br /&gt;
3.俗话说得好：“杀人不过头点地。”(第十二回)&lt;br /&gt;
Remeber the proverb “A murder can only lose his head.”(Yang 318)&lt;br /&gt;
“You know what the proverb says: He who checks a moment’s rage, shall calm and carefree end his days.”(Hawkes 322)&lt;br /&gt;
It is can concluded that cultural gaps between the source language and the target language is always a hard nut for a translator to crack. Every language has its own specific cultural connotation, and sometimes the contained meanings are very difficult to convey by another language in the process of translation. &lt;br /&gt;
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The famous Chinese anesthetist, translator Zhu Guangqian pointed out: “Because of the different cultural situation and living status, words refer to the same thing sometimes can bring about different imagination and esthetics. For instance, the English words fire, sea, Roland, castle, sport, shepherd, nightingale, race will different psychological reaction between the English and the Chinese people. For English people, have abundant cultural factors. On the other hand, the Chinese characters and words like风，月，江，湖，梅，菊，燕，碑，笛，僧，隐逸，礼，and阴阳can evoke special association of ideas among Chinese people which may not be comprehended easily by the English people.”(Zhu Guangqian 1984:335) Consequently, the translating strategies translators choose must be determined by the Skopos of translation. Based on this Skopos, translators can select either foreignization, oriented towards the SL culture or domestication, oriented towards the TL culture, or both.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:39, 11 December 2020 (UTC)&lt;br /&gt;
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The famous Chinese anesthetist, translator Zhu Guangqian pointed out: “Because of the different cultural situation and living status, words refer to the same thing sometimes can bring about different imagination and esthetics. For instance, the English words fire, sea, Roland, castle, sport, shepherd, nightingale, race will cause different psychological reaction between the English and the Chinese people. For English people, have abundant cultural factors. On the other hand, the Chinese characters and words like风，月，江，湖，梅，菊，燕，碑，笛，僧，隐逸，礼，and阴阳can evoke special association of ideas among Chinese people which may not be comprehended easily by the English people.”(Zhu Guangqian 1984:335) Consequently, the translating strategies translators choose must be determined by the Skopos of translation. Based on this Skopos, translators can select either foreignization, oriented towards the SL culture or domestication, oriented towards the TL culture, or both.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:30, 18 December 2020 (UTC)&lt;br /&gt;
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====From the Perspective of Translational Action====&lt;br /&gt;
Translational action views translation as purpose-driven, outcome-oriented human interaction and it focuses on the process of translation as message-transmitter compounds involving intercultural transfer. Holz-Manttari says that translation is not only about translating words, sentences or texts but is in every case about guiding the intended co-operation over cultural barriers enabling functionally oriented communication. For her, translating is a form translational, intentional and interpersonal interaction. &lt;br /&gt;
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Translational action views translation as purpose-driven, outcome-oriented human interaction and it focuses on the process of translation as message-transmitter compounds involving intercultural transfer. Holz-Manttari says that translation is not only about translating words, sentences or texts but is in every case about guiding the intended co-operation over cultural barriers enabling functionally oriented communication. For her, translating is a form of translational, intentional and interpersonal interaction. --[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:30, 18 December 2020 (UTC) &lt;br /&gt;
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As a form of communicative action, translating is a form of translational interaction. Translational interaction takes place in situations that are limited in time and space. This means every situation has historical and cultural dimensions that condition the agents’ behavior, their knowledge and expectations of each other, their appraisal of the situation, and the standpoint from which they look at each other and at the world. As a result, translators, who enable communication to take place between members of different culture communities, are conditioned by these factors too. Their decision of translating strategy is without exception. In addition, translation is an intentional interaction. For translators, there is a choice to act one war or another.&lt;br /&gt;
In Manttari’s model inter-linguistic translation is seen as a communicative process with a series of roles and players. The roles and players are: The initiator, the person, group or institution that starts off the translation process and determines its course by defining the purpose for which the target text is needed. (Nord,1997:20 )The commissioner, is the person who asks the translator to produce a target text for a particular purpose and addressee. Sometimes he may influence the very production of the target text by demanding a particular text format or terminology.The ST producer, the person who writes the ST;the TT producer, who is the translator;the TT user, who is the person who uses the TT; the TT receiver, who is the final recipient of the TT.(Reiss, 1971:25)&lt;br /&gt;
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These roles and players are interconnected through a complex network of mutual relation. Among these roles, the initiator and the translator are the most significant since it is the initiator who gives out the translation brief and thus determines translator's translation strategy. Sometimes the roles and players can be overlapped, one person playing the roles of several agents at the same time. For example, translator can be the initiator and TT producer at the same time if he is the person who wants to translate the source text into target culture, Yan Fu and Lin Shu are of this kind. In this situation, the translator can determine the translation strategy subjectively according to the purpose he wants to attain. They initiated the translation action themselves and had their prospective TT receivers in mind. Thus the intentions of the translators, the initiators and the aesthetical expectation of TT receivers together determined the translators to choose the strategy of domestication.&lt;br /&gt;
Lin Yutang, a famous Chinese writer and translator, candidate of Nobel Prize for literature, once asked his friend Yu Dafu to translate his masterpiece A Moment in Peking that had achieved a great success in the English world. He sent him a detail explanation of the idioms and quotations from Chinese culture in detail. Unfortunately, the deal turned out to be unaccomplished. (Later,some translators translated it into Chinese. However, Lin felt unsatisfied with all these translated versions.) In this case, Lin is the source text producer and the initiator, he gave out the translation brief and largely determined the translating strategy. Lin’s other works, such as The Importance of Living, My Country and My People, are originally written in English and later translated into Chinese. Compared the English and the Chinese versions, we can find great differences, especially those concerning Chinese specific cultural phenomena. Then what led to these differences? What are the purposes of the initiator? The reasons probably lie in this: creating a work that can satisfy both English and Chinese readers. &lt;br /&gt;
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Lin Yutang, a famous Chinese writer and translator, candidate of Nobel Prize for literature, once asked his friend Yu Dafu to translate his masterpiece A Moment in Peking that had achieved a great success in the English world. He sent him a detailed explanation of the idioms and quotations from Chinese culture in detail. Unfortunately, the deal turned out to be unaccomplished. (Later,some translators translated it into Chinese. However, Lin felt unsatisfied with all these translated versions.) In this case, Lin is the source text producer and the initiator, he gave out the translation brief and largely determined the translating strategy. Lin’s other works, such as The Importance of Living, My Country and My People, are originally written in English and later translated into Chinese. Compared the English and the Chinese versions, we can find great differences, especially those concerning Chinese specific cultural phenomena. Then what led to these differences? What are the purposes of the initiator? The reasons probably lie in this: creating a work that can satisfy both English and Chinese readers. --[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:30, 18 December 2020 (UTC)&lt;br /&gt;
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Since the English readers are not familiar with the Chinese culture, Lin described it in great details; while in its Chinese version, these details were omitted. In Lin’s translation of Chinese classics, such as Laozi and Zhuangzi’s Taoism, he also adopted the same routine and won a large number of readers. In another translated work The Six Chapters of a Floating Life《浮生六记》, he adopted both domesticating and foreignizing strategies. The examples are in the following:&lt;br /&gt;
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余笑曰：“卿非解人，摸索在有意无意间耳，拥而狂探，田舍郎之所为也。”&lt;br /&gt;
Beauty of caressing lies in doing naturally and half unconsciously. Only a country bumpkin will hug and caress a woman roughly. (Quoted in Meng Jiangang, 2002)&lt;br /&gt;
惠来以番饼二圆授余，即以赠曹。曹力却，受一圆而去。&lt;br /&gt;
Hueilai gave me two Mexican dollars which 1 gave to Ts’ao, but Ts’ao would not take them, only after my insistence did he receive one dollar before going away.(Quoted in Meng Jiangang, 2002)&lt;br /&gt;
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In the two examples quoted above, Lin employed domesticating translation. The Chinese classics was translated into modern English and the cultural images were replaced, such as “田舍郎，番饼二圆”. The translation became fluent and transparent as if the translator was invisible. However, in order to introduce the profound Chinese culture, he also adopted foreignizing translation in the same text. The example is in the following:&lt;br /&gt;
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其形削肩长颈，瘦不漏骨，眉弯目秀，顾盼神飞，惟两齿微露，似非佳相。&lt;br /&gt;
Of a slender figure, she had drooping shoulders and a rather long neck, slim but not to the point of being skinny. Her eyebrows were arched and in her eyes there was a look of quick intelligence and soft refinement. The only defect was that her two font teeth slightly inclined forward, which was not a mark of good woman.(Quoted in Meng Jiangang, 2002)&lt;br /&gt;
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The lines described the appearance of a Chinese woman. However, the traditional Chinese beauty may not be beautiful in western culture; and it is difficult for the westerners to understand that “两齿微露” is a premonition of disaster. Lin made no explanation here since he believed western reader would interpret the cultural connotation according to the context. There is no doubt that he succeeds.&lt;br /&gt;
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The secret of his success is to focus on the function of the target text. Since translation is an intercultural action, different cultures can communicate smoothly by this means. In Lin’s case, he played the roles of source text producer, initiator and translator. Initiators can be a group or an institution. In order to achieve some kind of political purpose, government sometimes initiates a series of translation action and determines the translating strategies for translators. In addition, in order to get more benefit, publisher, the initiator, sometimes will set a translation brief for translators, and asks them to act accordingly. These phenomena are common in modern society. For example, many foreign romances are translated into Chinese in recent years. Some are domesticating while others are foreignizing. The reasons behind them probably lie in the publishers’ intention to satisfy their perspective readers. Translatorial action produces a TT that is functionally communicative and functionally suitable in the target culture. It places translation in its socio-cultural context, which includes the interplay between the translator and the institution that initiated it and stresses functionality.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:39, 11 December 2020 (UTC)&lt;br /&gt;
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====From the Perspective of Text Typology====&lt;br /&gt;
Among the advocates of functional approaches to translation is Reiss who works on text types which determine translation. Reiss’s approach considers the text rather than the word or the sentence as the translation unit and hence the level at which equivalence is to be sought. The contents of Reiss’s text typology are in the following:&lt;br /&gt;
The first one is the “informative” text where the content is the main focus. These texts do plain communication of facts, information, knowledge, opinions etc. The logical or referential dimension of language is what is involved. The second one is the “expressive” text where the focus is on creative composition and aesthetics. Both the author (the sender) and the message are what are foregrounded. Imaginative creative literature exemplifies these texts and the third one is the “operative” text where the focus is “appellative” by which what is meant is that the text appeals to the reader to act in a certain way, persuading, dissuading, requesting, and cajoling him. The form of language is dialogic.(Reiss, 1971:25)&lt;br /&gt;
Correspondingly Reiss advocates specific translation methods for these text types. The target text of an informative text should be in plain prose with explication where required, the aim being to transmit the referential content of the text. The text styles concern philosophy, news reports, science and so on that aim at introducing foreign culture, history and custom. This text type focuses on the convey of specific culture. Together with the function of Skopos theory, a foreignizing translation should be advocated. The target text of an expressive text should use the “identifying” method, the translator having to look at it from the ST author’s standpoint. The text type of this kind mainly is literature that concerns various linguistic, cultural factors with the functions of cognition, expression, moralism, aesthetics and so on. &lt;br /&gt;
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Since it connects closely to culture, the choice of translation strategy seems more complex. Generally speaking, we can make the decision according to its function and purpose. For those works rich in cultural connotation, if the purpose is to introduce the source text culture to the target one, we should take foreignizing translation, such as Yang Xianyi’s A Dream of Red Mansions. Since the classic is a representation of Chinese culture and conventional moral, we should convey these information to foreign readers and avoid misreading or misunderstanding. &lt;br /&gt;
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On the contrary, if the translator’s intention is to entertain the readers and provide the plot of the story, he can adopt the domesticating translation as Hawkes did in his The Story of the Stone. More examples can be seen at Su Mashu and Chen Duxiu’s 《悲惨世界》, all headings of the original novel were domesticated into typical Chinese traditional parallel sentences. For example, “The Close of A Day’s March” and “Prudence Recommended to Wisdom” were translated into “第一回 迪涅城行人落魄，苦巴馆店主无情” and “第二回 感穷途华贱伤心，遇贫客渔夫设计” respectively. Both content and form of an operative text are subordinate to the extra linguistic effect that the text is designed to achieve. “The translation of an operative text has to employ the ‘adaptive’ method, trying to create the same effect on the readers, as the ST. The translation of operative texts into operative texts should be guided by the overall aim of bringing about the same reaction in the audience, although this might involve changing the content and/or stylistic features of the original.” (Nord, 1997:38) &lt;br /&gt;
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The examples can be found in the translation of advertisement. For instance, the famous trade mark “Coca Cola” was translated into  “可口可乐” and reached a totally success. “Coca” is the plant the Indians view as saint and from which people abstract cocaine. If it is translated directly into“古柯” it probably cannot raise the nice flavor of the drink in Chinese customers. Then “Coca” was domesticated into “可口” while “Cola” maintained its foreigness. Therefore, for an operative text, since communicative function is prior to everything else, we tend to employ domesticating translation. &lt;br /&gt;
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Reiss also mentioned evaluating criteria, which vary according to text types. Thus while the translation of any content-oriented text has to aim at semantic equivalence, and a popular science piece will have to preserve the ST style, there is greater need to retain a metaphor in an expressive text than in an informative target text. Reiss thinks one could gauge the adequacy of a TT by intra-linguistic criteria like semantic, grammatical and stylistic features and extra-linguistic criteria like situation, subject field, time, place, receiver sender and implications like humor, irony, emotion and so on.&lt;br /&gt;
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Reiss’s text typology is a useful but it is clear that texts are often not as hermetically sealed as Reiss has once believed. A biography or an editorial could have informative as well as appellative content. A personal letter could well be informative, expressive and appellative as can be an advertisement. As a result, translators should take other factors into account, such as functions, Skopos and so on and make judgement accordingly. --[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:39, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
Domestication is reader-centered and TL culture-oriented, and foreignization is author-centered and SL culture-oriented. However, which of the two translating strategies should be chosen evokes a heated and endless debate at home and abroad, since scholars of these two opposite schools can't convince each other. Many scholars regard these two strategies as oil and vinegar, and believe that they can never coexist harmoniously in translation. People who advocate foreignization believe that, as a means of cultural communication, translation should introduce foreign culture and exoticness to target reader, meanwhile taking in new expressions. On the contrary, people who prefer domestication argue that translation should help to overcome not only language barrier but also cultural conflict. For them, the task of translator is to avoid cultural conflict, and domesticating translation can help readers understand the source text better and finally reach the goal of cultural communication. &lt;br /&gt;
&lt;br /&gt;
From the perspective of functionalist theory, as a communicative, intercultural action, translation is viewed as an intentional, interpersonal interaction. From the angle of Skopos of translation, together with action theory and text typology theory, funetionalist approaches provide us a perspective. Skopos rule is the principal rule determining any translation process in the purpose of the overall translational action. Plus loyalty rule put forward by Nord, functionalist approaches put translation into the framework of action theory and cross-culture communication theory. And adequacy rather than equivalence should be the criterion of judging the quality of a translation. By analyzing the purposes of different parties involved in the translation action(such as initiator, translator, and reader)，guided by translation brief given by the initiator, a translator can determine which translation strategy should be chosen. If the purpose of translation is to introduce domestic culture, history, philosophy to foreign readers, then foreignization should be employed. On the other hand, if the purpose of translation is to entertain the target reader, domestication can add more readability and get better function. Besides, text typology can help translator to figure out the function of a source text and make wiser decision about translation strategy. In one word, from the viewpoint of functionalist, domestication and foreignization have different functions in target language culture. Translator can adopt either or both of them in order to achieve the prospective functions. They are not, and should not be regarded as contradictory, but complementary, and can be employed simultaneously in translation. &lt;br /&gt;
&lt;br /&gt;
In a word, translation can realized cultural communication and transplantation goal under the guidance of the functionalist approaches.&lt;br /&gt;
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 12:46, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
1.Bassnett, Susan&amp;amp;Andre Lefevere. (2001). ''Constructing cultures: Essays on Literary Translation.'' Shanghai: Foreign Language Education Press.&lt;br /&gt;
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2.Hawkes, David. (1982). ''The Story of the Stone.'' New York: Penguin Books.&lt;br /&gt;
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3.Nida, E. A.&amp;amp;Chr. R. Taber. (1969). ''The Theory and Practice of Translation.'' Leiden: E. J. Brill.&lt;br /&gt;
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4.Nida, E. A. (1964). ''Toward a Science of Translating.'' Leiden: E. J. Bril1.&lt;br /&gt;
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5.Nord, Christiane. (1997).''Translating as a Purposeful Activity: Functionalist ApproachesExplained.'' Manchester:St. Jerome Publishing.&lt;br /&gt;
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6.Reiss, K. (1971). ''Possibilities and Limitations of Translation Criticism.'' Munich: Hueber.&lt;br /&gt;
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7.Schaffner, (1995). Christina. ''“Editorial.” Cultural Functions of Translation.'' Clevedon: Multilingual Matters LTD.&lt;br /&gt;
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8.Schleiermacher, A. (1992) On the Different Methods of Translating [A]. ''Theories of Translation: An Anthology of Essays from Dryden to Derrida''[C]. Schulte, R&amp;amp;Biguenet, J. Chicago and London: The University of Chicago Press,36-54.&lt;br /&gt;
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9.Venuti, L.(1995). ''The Translator’s Invisibility.''[M]. London: Routledge.&lt;br /&gt;
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10.Venuti, L.(1998). ''The Scandal of Translation.''[M]. London:Routledge.&lt;br /&gt;
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11.Yang, Xianyi&amp;amp;Yang Gladys.(1994) ''A Dream of Red Mansions.'' Beijing: Foreign Language Press.&lt;br /&gt;
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12.Cai Ping 蔡平.(2002).翻译方法应以归化为主[Domestication should be the Main Strategy in Literary Translation]. 中国翻译 Chinese Translators Journal(5):39-41.&lt;br /&gt;
&lt;br /&gt;
13.Cao Xueqin&amp;amp;Gao E曹雪芹&amp;amp;高鹗.(1992)''红楼梦''[Hongloumeng].Beijing:People's Literature Publishing Press 人民文学出版社.&lt;br /&gt;
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14.Guo Jianzhong 郭建中. (2000).''文化与翻译''[Culture and Translation].Beijing:China Translation and Publishing Co.中国对外翻译出版公司.&lt;br /&gt;
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15.Guo Jianzhong 郭建中. (1999)''当代美国翻译理论''[Contemporary American translation theory]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
&lt;br /&gt;
16.Meng Jiangang 孟建刚. (2002).''关于翻译原则二重性的最佳关联性解释''[Accounting for the Duality of the Translating Principles of Foreignization and Domestication with the Notion of Optimal Relevance]. 中国翻译 Chinese Translators Journal (5):27-31.&lt;br /&gt;
&lt;br /&gt;
17.Tang Zaixi 谭载喜. (1991). ''西方翻译简史'' [A Short Translation History in the West].Beijing:The Commercial Press 商务印书馆.&lt;br /&gt;
&lt;br /&gt;
18.Tang Zaixi 谭载喜. (1999). ''新编奈达论翻译'' [A new edition of Nida’s theory of translation].Beijing:China Translation and Publishing Co. 中国对外翻译出版社公司.&lt;br /&gt;
&lt;br /&gt;
19.Zhu Guangqian朱光潜.(1984). ''谈翻译:翻译论文研究集''[On Translation: A collection of research papers on translation].Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社&lt;br /&gt;
&lt;br /&gt;
==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan’s Works	欧蓉	Ou Rong==&lt;br /&gt;
&amp;lt;center&amp;gt; 欧蓉 Ou Rong, 202020080629.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
For a long time, owing to the unique style, Chinese literature has attracted much attention among world literature. In the process of flowing overseas, translation has become a bridge of cross-cultural communication and a medium of transmission. Mo Yan is a well-known representative Chinese writer, who won the Nobel Prize in Literature in 2012. And the study abroad on his works in translation has never stopped. Howard Goldblatt is a famous American translator specializing in contemporary Chinese literature, and all English versions of Mo Yan's works are from him. Through analyzing the domestication and foreignization that reflect in the translated version of Mo Yan's works by Howard Goldblatt, the thesis aims to point out merits and and demerits of this application and consider the matters that should be paid attention to when translating Chinese literary works into English. It can help strengthen the understanding and improve the fluency of the exchange between different cultures and promote Chinese literature goes ahead with the world.&lt;br /&gt;
&lt;br /&gt;
For a long time, due to its unique style, Chinese literature has attracted widespread attention of world literature. In the process of flowing overseas, translation has become a bridge and a medium for cross-cultural communication. Mo Yan is a well-known representative writer in China and won the 2012 Nobel Prize in Literature. His translation works have never stopped studying abroad. Howard Goldblatt is a well-known American translator who specializes in contemporary Chinese literature. All English versions of Mo Yan's works are from him. By analyzing the domestication and foreignization in the translation of Mo Yan's works translated by Howard Goldblatt, this article aims to point out the advantages and disadvantages of this application, and consider the matters that should be paid attention to when translating Chinese literary works into English. It can help deepen understanding, improve the fluency of communication between different cultures, and promote Chinese literature to the world.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:24, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
domestication; foreignization; Howard Goldblatt; Mo Yan’s works&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
葛浩文英译莫言作品中的归化和异化之应用&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
一直以来，中国文学的独特风格在世界文学中备受瞩目，在流向海外的过程中，翻译成为了跨文化沟通的桥梁与传播的媒介。莫言是中国著名作家，外国对其作品的翻译研究从未断过，2012年他获得诺贝尔文学奖。葛浩文是美国著名中国当代文学翻译家，莫言所有作品的英译本都来自于他。本文旨在通过分析葛浩文在翻译莫言作品过程中体现的归化和异化，从而指出其优点与缺点，从而思考中国文学作品被英译时应注意的事项，加强与提高不同文化之间交流的理解度与流畅度，帮助中国文学走出国门，面向世界。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译；归化；异化；葛浩文；莫言的作品&lt;br /&gt;
&lt;br /&gt;
===Chapter1 Introduction===&lt;br /&gt;
From ancient to present, despite of its unique style, Chinese literature only has its own several classic works as famous among the world, such as Four Great Classical Novels---Water Margin, Journey to the West, Romance of the Three Kingdoms and Dream of the Red Chamber. Also, few literature works created in modern history have theirs own statues in the international. With the establishment of People’s Republic of China and Reform and Opening, there are a handful of modern and contemporary works that are well-known abroad(Lv Minhong, 2011:6).&lt;br /&gt;
&lt;br /&gt;
Some Chinese literary works are published abroad and squeeze into bookshelves fill with English native books. The prominent Chinese writers in and out include Lu Xun, Mo Yan, Yu Hua, Lao She, Shen Congwen, Zhang Ailing and so on. Until 2012, the time that Mo Yan was awarded Nobel Prize, people’s interest in Chinese literature reached a climax(Sun Huijun,2014:86). In the process of flowing overseas, translator plays a crucial role in cultural transmission. The American sinologist Howard Goldblatt is the typical example, who made great contributions for the output of Chinese Culture(Ge Haowen,2014).&lt;br /&gt;
&lt;br /&gt;
Some Chinese literary works were published abroad and crowded on shelves filled with English local books. Famous writers at home and abroad include Lu Xun, Mo Yan, Yu Hua, Lao She, Shen Congwen, Zhang Ailing, etc. It wasn't until Mo Yan was awarded the Nobel Prize in 2012 that people's interest in Chinese literature reached a climax (Sun Huijun, 2014: 86). In the process of moving overseas, translation plays a vital role in cultural communication. American Sinologist Howard Goldblatt is a typical example, who has made great contributions to the development of Chinese culture (Ge Haowen, 2014).--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:30, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
He can be called the mirror of Mo Yan in America, even the critic Updike said,the translation of contemporary Chinese novels in the United States seems to be the lonely career of Professor Howard Goldblatt(2005:37). Until now, his translation works of Mo Yan include Red Sorghum, Big Breasts and Wide Hips, Life and Death Are Wearing Me Out, The Garlic Ballads, The Republic Wine, Sandalwood Death and so on. His superb translation for Mo Yan in certain sense helps a lot for Mo’s position in world literature. &lt;br /&gt;
&lt;br /&gt;
Mo Yan said: ''without the outstanding work of Professor Howard Goldblatt, the translator of my novels, my novels could have been translated into English and published in the United States by others, but there is absolutely no such perfect translation as today. Many friends who are proficient in both English and Chinese said to me, Professor Howard Goldblatt’s translation perfectly matches with my original work. But I prefer to believe that his translation adds great luster to my original work''(2000:170).&lt;br /&gt;
=====1. Literature Review=====&lt;br /&gt;
Howard Goldblatt, who is well-known as a translator, sinologist and writer, translated many works of Chinese writers. During his 30-year translation career, he has translated more than 50 modern and contemporary Chinese literary works, making an inestimable contribution to the spread and influence of Chinese literature overseas(Jia,Yanqin,2012:62). However, as Howard mentioned in the interview, ''Americans don’t pay much attention to translated text. Because they are always suspicious to translation''(2009:50). Although translator plays a key role in literary dissemination and communication, the work of translators has not received the attention they deserve. And the researches on translation abroad also mainly focus on translation theorists rather than translators.&lt;br /&gt;
&lt;br /&gt;
Therefore, the study about Howard Goldblatt’s translation is also not paid attention intensely outside. In 2011, the journal &amp;quot;Chinese Literature Today&amp;quot; was jointly organized by the University of Oklahoma and Beijing Normal University as an important platform for Chinese literature dissemination and research overseas, in which Howard, as the special guest, was introduced in details. In this journal, Christopher Lupke(2011)introduces Howard’s career of translation and studying, assesses his style of translation and discusses his faithful translation strategies.&lt;br /&gt;
&lt;br /&gt;
Therefore, the research on Howard Goldblatt's translation has not attracted widespread attention from the outside world. In 2011, the University of Oklahoma and Beijing Normal University jointly organized the &amp;quot;Chinese Literature Today&amp;quot; magazine as an important platform for the dissemination and research of Chinese literature overseas. In particular, Howard was introduced as a special guest. In this journal, Christopher Lupke (2011) introduced Howard's translation and learning career, assessed his translation style and discussed his faithful translation strategies.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:38, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
Also, after three years, the journal “Chinese Literature Today” invited Howard again. Stalling Jonathan(2014)gives an original interview about Howard Goldblatt. The new point is the mention of opera of Yuan dynasty, which helps a lot for Howard’s translation of the work Life and Death Are Wearing Me Out.&lt;br /&gt;
&lt;br /&gt;
Although there are few response to Howard Goldblatt’s translation abroad, many scholars in domestic regard him as a hot research object. Ji Jin(2009) conducts an interview on the situation of contemporary Chinese literary works overseas, Howard Goldblatt's criteria for choosing text, Howard Goldblatt's views and evaluations of contemporary Chinese writers, and his prospects for the development of contemporary Chinese literature in the future. This kind of study aims to find the problems Chinese literary works encountering with outside and to think about the solution. &lt;br /&gt;
&lt;br /&gt;
Although there is not much reaction to Howard Goldblatt's translation abroad, many domestic scholars regard him as a popular research object. Ji Jin (2009) the status quo of overseas contemporary Chinese literary works, Howard Goldblatt’s book selection criteria, Howard Goldblatt’s views and evaluations of contemporary Chinese writers, and his development of contemporary Chinese contemporary literature The prospect was interviewed. This kind of research aims to discover the problems encountered by Chinese literary works in the outside world and think about solutions.--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:38, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
Some scholars are interested in Howard Goldblatt’s view, principles and specific strategies on translation. Zhang Yaoping(2005)collects all Chinese works translated by Howard Goldblatt and figures out his views and style of translation. Then, Wen Jun, Wang Xiaochuan and Lai Tian(2007)summarize Howard Goldblatt’s four principles on translation. From the interview to Howard, Yan Yixun(2014) gets his ideas that “Elegance” is more important than “Faithfulness” and “Expressiveness” and that “Faithfulness” cannot be neglected by “Elegance”. &lt;br /&gt;
&lt;br /&gt;
Some scholars are interested in Howard Goldblatt's views, principles and specific translation strategies. Zhang Yaoping (2005) collected all Chinese works translated by Howard Goldblatt and pointed out his views and translation style. Then, Wen Jun, Wang Xiaochuan and Lai Tian (2007) summarized Howard Goldblatt’s four translation principles. From interviews to Howard, Yan Yixun (2014) got his idea that &amp;quot;Elegance&amp;quot; is more important than &amp;quot;Faithfulness&amp;quot; and &amp;quot;Expressiveness&amp;quot;, and &amp;quot;Faithfulness&amp;quot; cannot be ignored by &amp;quot;Elegance&amp;quot;.--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:38, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
Nevertheless, the most common is the research on the text of translated version by Howard Goldblatt. Shao Lu(2013), through analyzing Howard’s Life and Death Are Wearing Me Out, finds Howard’s “fidelity” and “infidelity” in translating. Shi Guoqiang(2013)points out Howard’s “Creative treason” on translation from his Big Breasts and Wide Hips. Yin Lingwei and Shen Xiangyu(2020)discuss Howard’s “fidelity” and “treason” in his translation of the work Frog. Many other works, such as Tales of Hulan River, Turbulence, Six Chapters From My Life Downunder, Red Sorghum and so on, also are studied by many scholars. &lt;br /&gt;
&lt;br /&gt;
Nevertheless, the most common is Howard Goldblatt's research on translations. Shao Lu (2013) analyzed Howard's life and death are wearing me down, and discovered Howard's &amp;quot;loyalty&amp;quot; and &amp;quot;infidelity&amp;quot; in translation. Shi Guoqiang (2013) pointed out the &amp;quot;creative treason&amp;quot; in translation from Howard's &amp;quot;Big Breasts&amp;quot; and &amp;quot;Big Buttocks&amp;quot;. Yin Lingwei and Shen Xiangyu (2020) discussed Howard's &amp;quot;loyalty&amp;quot; and &amp;quot;treason&amp;quot; when translating frog works. Many scholars have also studied many other works, such as &amp;quot;The Legend of Hulan River&amp;quot;, &amp;quot;Turbulence&amp;quot;, &amp;quot;Six Chapters of My Life&amp;quot;, &amp;quot;Red Sorghum&amp;quot; and so on.--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:38, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
In this way, most scholars only reach a conclusion by analyzing a novel translated by Howard Goldblatt. Although the most studied is the translated texts of Mo Yan’s works, it lacks a systematic study of Howard’s translation strategies in a writer’s several works. Shao Lu(2011)has studied Howard’s translation of Mo Yan’s whole works, but her focus is translator’s decisive effect to promote the output of the original author’s works. &lt;br /&gt;
&lt;br /&gt;
Therefore, the paper aims to analyze the domestication and foreignization in Howard Goldblatt's translation of Mo Yan's novels, find pivotal obstacles, and think about practical measures to promote Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Howard Goldblatt and Mo Yan===&lt;br /&gt;
Mo Yan, one of Chinese contemporary writers, born in Gaomi of Shandong province, creates plenty of novels in which the story happened in his hometown, Red Sorghum, Big Breasts and Wide Hips contained. His novel draws on the artistic guidelines of modernist novels such as magical realism, surrealism, symbolism, and stream of consciousness. He uses metaphors, symbols, exaggerations, and irony to express the profundity of the society, history, culture and the beauty of thousands of styles of regional culture in China.(Lv Minhong,2011:102) &lt;br /&gt;
&lt;br /&gt;
Mo Yan, one of the contemporary Chinese writers, born in Gaomi City, Shandong Province. Many of his novels took place in his hometown of red sorghum, big breasts and wide hips. His novels draw on the artistic direction of modernist novels, such as magic realism, surrealism, symbolism and stream of consciousness. He uses metaphors, symbols, exaggerations and satire to express the profound connotations of society, history, culture, and the beauty of thousands of regional cultures in China. (Lu Minhong, 2011: 102)&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:47, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
Notwithstanding there is another feature in Mo Yan’s works---neutral and objective portrayal to the characters from different parties. For example, in Red Sorghum, when it comes to theme of history, to reconstruct history by overturning the dualistic opposition in the creation of traditional anti-Japanese novels, he presents the vague horizon between past and present, death and life, good and evil(Shao Lu,2011:51). &lt;br /&gt;
&lt;br /&gt;
Combining the living description and impersonal history sense, Mo Yan’s work receives much attention from readers over the world. However, Mo Yan’s unique writing style with dialects and local color is difficult to translate into another language. It is Howard Goldblatt who translates his novels into English that speeds up the spreading overseas.&lt;br /&gt;
&lt;br /&gt;
Howard Goldblatt, although with American descent, is interested in Chinese culture very much. He once studied and taught in Taiwan for many years, which provides him much experience to absorb Chinese culture. He once said Taiwan is his another home. When he came back to America, he was matriculated by San Francisco State University to study Chinese language literature. After several years, he went to Indiana University of Pennsylvania for further study under the guidance of the Professor Liu Wuji who is a well-known expert in Chinese literature(Lv Minhong,2011:29). &lt;br /&gt;
&lt;br /&gt;
What drive Howard to choose Mo Yan continually and frequently can probably be several causes following. Firstly, Howard himself is interested in Chinese culture, which can be seen from his long-term study in China and his further study with the help of the Professor Liu Wuji. Here Mo Yan is a convinced writer representing Chinese literature(Lv Minhong,2011:29). &lt;br /&gt;
&lt;br /&gt;
The reasons that prompted Howard to continuously choose Mo Yan may be the followings. First of all, Howard himself is very interested in Chinese culture, which can be seen from his long-term research in China and further research with the help of Professor Liu Wuji. Here, Mo Yan is a persuasive writer, representing Chinese literature (Lu Minhong, 2011: 29).&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:47, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
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Secondly, Mo Yan’s work meets the taste of Americans. After his translated work Red Sorghum was published in America, the volume pressed and sale is impressive. Howard explained that American readers prefer two or three kinds of novels---those more about sex and politics or the detective novels(2009:46). Obviously, the former two elements can be shown in Mo Yan’s work. &lt;br /&gt;
&lt;br /&gt;
Secondly, Mo Yan's works are in line with American tastes. After his translation work &amp;quot;Red Sorghum&amp;quot; was published in the United States, the printing volume and sales volume were impressive. Howard explained that American readers prefer two or three novels-more novels about sex, politics, or detective novels (2009: 46). Obviously, the first two elements can be reflected in Mo Yan's works.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:47, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
Finally, there is a great relationship established between Howard Goldblatt and Mo Yan. They would communicate with each other frequently. Each Mo Yan’s new book, Howard said, he would read it and admit the value of Mo’s works(2009:54). Just occasionally, Mo Yan once praised Howard’s rigorous spirit in translation and expressed his gratification to the cooperation(2000:170).&lt;br /&gt;
&lt;br /&gt;
Finally, Howard Goldblatt and Mo Yan established a very good relationship. They will communicate with each other often. Howard said that with every new book of Mo Yan, he will read and recognize the value of Mo Yan (2009: 54). Mo Yan occasionally praised Howard's rigorous spirit in translation and expressed satisfaction with the cooperation (2000: 170).&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:47, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
So much connection with China and accumulation of Chinese culture fosters his profound knowledge about Chinese literature. From 1970s Howard began to translate Chinese literary works. Among the works he had translated, the number of Mo Yan’s works is the most. And the version translated by Howard is the most accepted.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Embodiment of Demestication and Foreignization===&lt;br /&gt;
Domestication and foreignization are frequently used in the process of translation. The two terms were first brought forward by Venuti, an Italian. According to Venuti, domestication is to &amp;quot;bring the original author into the target language culture&amp;quot;, while foreignization is to &amp;quot;accept the language and cultural differences of the foreign language text and bring the reader into the foreign context&amp;quot;(2004:20). &lt;br /&gt;
&lt;br /&gt;
It implies that domestication requires the translator to get closer to the readers of the target language. The translator must speak like the native author. If the original author wants to have a direct dialogue with the reader, the translation must become an authentic native language. On the contrary, foreignization accepts the language characteristics of foreign cultures in translation and absorbs foreign language expressions. It requires translators to move closer to the original author, adopt the source language expression corresponding to the author's use to convey the content of the original text, that is, the source language culture is the destination(Venuti,2004:25). &lt;br /&gt;
&lt;br /&gt;
This means that domestication requires translators to maintain closer contact with readers in the target language. The translator must speak like a local author. If the original author wants to have a direct dialogue with the reader, the translation must become a true native language. On the contrary, foreignization accepts the linguistic features of foreign cultures and absorbs foreign language expressions in translation. It requires the translator to be closer to the original author, and to convey the content of the original text in a language corresponding to the original language used by the author, that is, the source language culture is the destination (Venuti, 2004: 25).&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
In Howard Goldblatt’s translated works of Mo Yan’s, the application of domestication and foreignization are ubiquitous. &lt;br /&gt;
=====1. Domestication=====&lt;br /&gt;
To convey the information more fluently and naturally, providing convenience to readers to understand, Howard applies domestication a lot in his translated works. Annotation, addition, omission and substitution, which are methods of domestication, can be seen in the Howard Goldblatt’s translated works.&lt;br /&gt;
&lt;br /&gt;
======1.1. Annotation======&lt;br /&gt;
In Mo Yan’s work, there are many unique elements that exist in Chinese culture. To avoid obstacles for foreign readers, Howard makes some explanations based on the original meaning. There are several examples following:&lt;br /&gt;
&lt;br /&gt;
E.g: Original text: 她回头对上官吕氏说：“上官家的，你跟我进来。”(Mo Yan,2012:10)&lt;br /&gt;
&lt;br /&gt;
Translated text: She stopped, turned and said to Shangguan Lv:“Lady Shangguan, come with me.”(Howard Goldblatt,2011:17)&lt;br /&gt;
&lt;br /&gt;
In China, especially in the northern regions, when addressing a person’s wife, the word “的” is usually added to the man’s last name. “上官家的” refers to Shangguan Fulu’s wife. It is a kind of dialect, showing the local color of Gaomi town. Here Howard uses “lady” to explain “的”, for the former is commonly used in English expression to greet a married woman. American readers could keep pace with the plots without culture gap, avoiding the obstacle for understanding.&lt;br /&gt;
&lt;br /&gt;
In China, especially in the northern regions, when calling someone’s wife, the word &amp;quot;的&amp;quot; is usually added to the person's last name. &amp;quot;上官家的&amp;quot; refers to Shangguan Fulu's wife. This is a dialect that shows the local color of Gaomi Town. Howard uses &amp;quot;lady&amp;quot; to explain &amp;quot;的&amp;quot; here, because the former is usually used to greet married women in English expressions. American readers can keep pace with the plot without cultural differences, thus avoiding barriers to understanding.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
There are some special expressions only in Chinese local culture, which are even able to be understood by the local. Howard also adds some annotations following:&lt;br /&gt;
&lt;br /&gt;
E.g: Original text: 八竿子拨拉不着的个表姨。(Mo Yan,2012:328)&lt;br /&gt;
&lt;br /&gt;
Translated text: You’re such a distant aunt.(Howard Goldblatt,2011:363)&lt;br /&gt;
&lt;br /&gt;
“八竿子拨拉不着” is equivalent to the meaning of “Eight poles can’t be struck”, describing the relationship between the two being alienated or unrelated. The original description of the person killed by the little lion is a whole number when counted on the table. Howard adopts the strategy of domestication, only expressing the distance between the two, without literally translating &amp;quot;Baganzi&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
&amp;quot;八竿子拨拉不着&amp;quot; is equivalent to &amp;quot;Eight poles can’t be struck&amp;quot;, which describes the alienated or irrelevant relationship between the two. When counting on the table, the original description of the person killed by the lion cub is an integer. Howard adopts a domestication strategy, only expressing the distance between the two, without the literal translation of &amp;quot;Baganzi&amp;quot;.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
The translator is responsible for the original work and also for the target readers, paying attention to reader’s acceptance and to the fluency of the translation. Therefore, Howard puts the content and form of the translation within the knowledge range of the target language readers, helping them to better understand the translation with their own cultural concepts.&lt;br /&gt;
&lt;br /&gt;
======1.2. Addition======&lt;br /&gt;
It is known that addition can be used as a method of domestication to explain the concealed information.&lt;br /&gt;
&lt;br /&gt;
E.g: Original text:---信马由缰式的---(Wen Jun,2007:79)&lt;br /&gt;
&lt;br /&gt;
Translated text: Prepared to go with the flow---that was how he lived his life---he followed the man inside.(Wen Jun,2007:79)&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong believes that the four-character idiom of Chinese is an advantage that the West does not have, and only China has. Peole cannot find a perfect expression in another language. There is not an absolutely identical expression matches the meaning of certain an idiom.  The idiom of Chinese The idiom “信马由缰”means to wander aimlessly on a horse. Howard Goldblatt not only translated the literal meaning of the idiom, but also explained the meaning of the idiom in specific situations based on the meaning in the text(Xu Yuanchong,1993:87).&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong believes that the four-character Chinese idiom is an advantage that the West does not have, and only China has it. Peole couldn't find the perfect expression in another language. There is no absolutely identical expression that matches the meaning of an idiom. The Chinese idiom idiom &amp;quot;信马由缰&amp;quot; refers to horse riding aimlessly. Howard Goldblatt not only translated the literal meaning of the idiom, but also explained the meaning of the idiom in a specific situation based on the meaning in the text (Xu Yuanchong, 1993: 87).&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
======1.3. Omission======&lt;br /&gt;
There are some elements in original text that are difficult to understand for foreign readers. Therefore, Howard makes some omissions when translating. &lt;br /&gt;
&lt;br /&gt;
E.g:Original text: 谢谢审判长的提醒，我马上进入实质性辩护。近几年来，农民的负担越来越重。我父亲所在村庄，种一亩蒜薹，要交纳农业税九元八角。要向乡政府交纳提留税二十元，要向村委会交纳提留三十元，要交纳县城建设税五元（按人头计算），卖蒜薹时，还要交纳市场管理税、计量器检查税、交通管理税、环境保护税，还有种种名目的罚款！(Cao Shunying,2015:127)&lt;br /&gt;
&lt;br /&gt;
Translated text: Thank you for reminding me, Your Honor. I’ll get right to the point. In recent years the peasants have been called upon to shoulder ever heavier burdens: fees, taxes, fines, and inflated prices for just about everything they need.(Cao Shunying,2015:127)&lt;br /&gt;
&lt;br /&gt;
Compared with the original work, some details of Chinese legal policies are obviously omitted here, because foreign readers basically do not understand Chinese legal policies, which are too difficult and boring to understand. If the translator makes too many descriptions of these details, foreign readers will lose interest in this work. It is also an embodiment of domestication. By the way, in the end of The Garlic Ballads, Howard makes a great change that he deletes some problematic plot and turns the imperfect ending into a satisfying ending. This action, certainly proved, is correct(Yan Yixun,2014:197).&lt;br /&gt;
&lt;br /&gt;
Compared with the original work, some details of Chinese legal policies are obviously omitted here, because foreign readers basically don't understand Chinese legal policies, which is too difficult and boring. If the translator describes these details too much, foreign readers will lose interest in this work. This is also a manifestation of domestication. By the way, at the end of &amp;quot;The Ballad of Garlic&amp;quot;, Howard made a big change. He deleted some problematic plots and turned the imperfect ending into a satisfying one. This action is correct (Yan Yixun, 2014: 197).&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
======1.4. Substitution======&lt;br /&gt;
Sometimes, the meaning of words or expression is not equal to the literal meaning. Perhaps, it is the contrary or unrelated meaning, which requires translators make a closing reading and recognize the real meaning the original author want to express. This time, translators should find a more accurate native expression to substitute the original expression. There is an typical example following:&lt;br /&gt;
&lt;br /&gt;
E.g: Original text: 余占鳌在火辣辣的痛楚中，忽然感到一阵酥酥麻麻的快乐，这快乐冲到喉咙，启动牙齿，化作一连串胡言乱语：“亲娘亲娘亲娘……亲娘……亲娘……”(Mo Yan,2007:158)&lt;br /&gt;
&lt;br /&gt;
Translated text: Stung by the pain, he experienced a sense of numbing ecstasy, and when it reached his throat it activated his teeth moving and emerged as a stream of gibberish:“Mistress Mistress Mistress...”(Howard Goldblatt,1994:165)&lt;br /&gt;
&lt;br /&gt;
The Chinese “亲娘” and “亲妈” are not only called as the biological mother, but also often people’s blurting when sighing. For example, if people are shocked by something, they will say: “哦，我的妈呀！” Here, the author uses the word “亲娘” five times to express the confusion and excitement in Yu Zhanao's heart. &lt;br /&gt;
&lt;br /&gt;
Grandmother scolded Yu Zhanao as a punishment for him breaking into her room, but Yu Zhanao admired her grandmother, so he regarded her grandma's behavior as a flirtation, so he was happy. If the translator literally translates “亲娘” as “mother”, this will not only make readers feel very confused about the relationship and plot, but also the original flirting feeling will be indifferent. Howard Goldblatt uses the strategy of domestication to replace it with “mistress”. It not only eliminates the differences between language and culture, but also makes translation more fluent, natural and smooth.&lt;br /&gt;
&lt;br /&gt;
The grandmother scolded Yu Zhanao as a punishment for him breaking into the room, but Yu Zhanao admired his grandmother very much, so he regarded her grandmother's behavior as flirting, so he was very happy. If the translator literally translates &amp;quot;亲娘&amp;quot; into &amp;quot;mother&amp;quot;, this will not only make readers feel very confused about this relationship and plot, but the original flirting feeling will also become indifferent. Howard Goldblatt replaced it with &amp;quot;Mistress&amp;quot; using domestication strategies. It not only eliminates the differences between language and culture, but also makes translation more fluent, natural and fluent.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
=====2. Foreignization=====&lt;br /&gt;
To close the distance with the original text and try at most to transmit the authentic culture of original text, translators apply foreignization as a translation method. This kind of method usually does not change the style and order of the characters in original text, keeping the exotic tinge of original culture in the target language. Transliteration and literal translation, as the methods of foreignization, are the most frequently used by Howard Goldblatt.&lt;br /&gt;
&lt;br /&gt;
======2.1. Transliteration======&lt;br /&gt;
In most cases, transliteration is the best translation method for names without special meaning. When translating a name, transliteration is a very important way. The translator can translate the name according to its pinyin without changing the Chinese order. Howard Goldblatt uses a lot of transliteration when there is no special meaning in the translation of Red Sorghum. For example, “戴凤莲” was translated as “Dai Fenglian”, “豆官” was “Douguan”, and “单庭秀” was “Shan Tingxiu”. “王文义” means “Wang Wenyi”(Howard Goldblatt,1994).&lt;br /&gt;
&lt;br /&gt;
It can be seen from the above that Howard extremely respects the original author in the translation of such names. He not only uses pinyin completely, but also follows the order of Chinese names, that is, the surname is first and the first name is last, respecting and obeying Chinese traditional cultural customs.&lt;br /&gt;
&lt;br /&gt;
However, when translating some characters’ nicknames and names with special meanings, transliteration is not applicable. The translator needs to find out the specific implicit meaning, and then choose the most suitable translation, such as “刘罗汉”, which is translated into “Arhat Liu”. Because 刘罗汉 was a loyal, firm and honest helper. He passed away in order to protect the property of his host. His spirit is consistent with the meaning of “Araht”, so Howard’s  translation of it is very symbolic(Howard Goldblatt,1994).&lt;br /&gt;
&lt;br /&gt;
However, when translating nicknames with certain characters and names with special meanings, transliteration is not applicable. The translator needs to find out the specific implicit meaning, and then choose the most suitable translation, such as &amp;quot;刘罗汉&amp;quot;, and translate it into &amp;quot;Arhat Liu&amp;quot;. Because Liu Luohan is a loyal, firm and honest helper. He died to protect the owner's property. His spirit is consistent with the meaning of &amp;quot;Araht&amp;quot;, so Howard's translation of it is very symbolic (Howard Goldblatt, 1994).&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
There is another transliteration that appears with some annotations, which can enlarge reader’s insight and make the plot more logically:&lt;br /&gt;
&lt;br /&gt;
E.g: Original text: 直到春暖花开的清明节。(Mo Yan,2012:110)&lt;br /&gt;
&lt;br /&gt;
Translated text: Qingming, the day of ancestral worship in the warmth of spring, when flowers were in full bloom. (Howard Goldblatt,2011:140)&lt;br /&gt;
&lt;br /&gt;
“清明节” is a traditional Chinese festival. It is a festival to worship ancestors. The traditional activity is tomb sweeping. Using transliteration and short explanations, readers can have a basic understanding of this object, and can remind readers of its uniqueness.&lt;br /&gt;
&lt;br /&gt;
======2.2. Literal Translation======&lt;br /&gt;
In the translation of some idioms and culturally loaded words, Howard Goldblatt also adopts the literal translation method to maintain the characteristics of the source language, so that people of different nationalities can share some common points in cognition. &lt;br /&gt;
&lt;br /&gt;
E.g: Original text: 母亲咬着牙齿说：“姓沙的，你癞蛤蟆想吃天鹅肉，做梦去吧！”(Mo Yan,2012:85)&lt;br /&gt;
&lt;br /&gt;
Translated text: Mother clenched her teeth. “You there, Sha”, She said, “Like the toad who want to feast on a swan, you can just dream on!”(Howard Goldblatt,2011:113)&lt;br /&gt;
&lt;br /&gt;
In this sentence, “癞蛤蟆想吃天鹅肉” is a common Chinese idiom, which means that without self-knowledge, one wants to obtain something impossible. For American readers, they may not be able to fully understand the relationship between Toad and Swan in Chinese. But in this way, they can understand what the author wants to express based on their own experience and context.&lt;br /&gt;
&lt;br /&gt;
In this sentence, &amp;quot;癞蛤蟆想吃天鹅肉&amp;quot; is a common Chinese idiom, which means that without self-knowledge, people want to obtain the impossible. For American readers, they may not fully understand the relationship between toad and swan in Chinese. But in this way, they can understand what the author wants to express based on their own experience and context.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:59, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
In this way, Howard has neither changed the lively image of the original text nor has it lost the connotative meaning of the original text. He once said:''If I can find appropriate slangy or regional or slightly archaic or unusual words that carry that sense, I’ll certainly use them. If I can’t I won’t.''(2014:8)&lt;br /&gt;
&lt;br /&gt;
===Chapter4 Enlightenment for Translation===&lt;br /&gt;
Howard Goldbaltt puts faithfulness to the original text in the first place, reproduces the original content and ideas and retains the original writing style and language characteristics. It reflects the translator’s ethics of being faithful to the original text; secondly. To consider the target language reader's reading ability and translation the translator adopts domestication strategies to overcome language and cultural barriers, appropriately reduces the cultural information of the original text, and provides a naturally familiar target language for readers of the target language(Chen Jiayu,2019:20). &lt;br /&gt;
&lt;br /&gt;
Howard Goldbaltt will first be faithful to the original text, reproduce the original content and ideas, and retain the original writing style and language characteristics. It reflects the translator's ethics of being loyal to the original text; secondly. In order to consider the reading ability and translation ability of target language readers, translators adopt domestication strategies to overcome language and cultural barriers, appropriately reduce the cultural information of the original text, and provide the target language readers with a naturally familiar target language (Chen Jiayu, 2019): 20).&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 14:08, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
In order to promote cultural exchanges and realize cross-cultural communication, translators adopt foreignization strategies to preserve the cultural and national characteristics of the original text as much as possible. This not only allows target language readers to understand foreign cultures and customs, but also promotes cultural exchanges and dissemination and makes outstanding contributions to promoting Chinese literature to overseas.&lt;br /&gt;
&lt;br /&gt;
The purpose of Howard Goldbaltt’s translation is to complete a translation that is readable for Americans and highly accepted by the market. And about Howard’s translation of domestication and foreignization, there are many some arguments. Most scholars confirm to that Howard Goldblatt’s translation is applied domestication more frequently, while foreignization is minor(Yin Ting,2014:150). &lt;br /&gt;
&lt;br /&gt;
However, in studying the translated text Big Breasts and Wide Hips, Shi Guoqiang(2013:80) thinks that foreignization is the main methods of Howard’s translation, domestication minor. He comes up with several aspects that Howard use foreignization in his translation, such as some idoims, special nouns and two-part allegorical saying and so on. Despite of the arguments, Howard’s excellent translation cannot be denied, which help a lot for the going abroad of Chinese literature.&lt;br /&gt;
&lt;br /&gt;
However, Shi Guoqiang (2013: 80), when studying the translated work &amp;quot;Big Breasts and Wide Buttocks&amp;quot;, believes that foreignization is the main method of Howard's translation, and domestication is secondary. He put forward several aspects of Howard's use of foreignization in translation, such as certain idols, special nouns and allegorical two parts. Despite all the controversies, Howard's excellent translation is undeniable, which will greatly help Chinese literature to go overseas.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 14:08, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
Analyzing the Howard’s translated works of Mo Yan’s, although his translation is the best version of Mo Yan’s novels until now, as for the output of Chinese litertature even Chinese culture, we still can get some enlightenment. &lt;br /&gt;
&lt;br /&gt;
Firstly, when translating Chinese literature into other languages, the translator himself is important. Usually, the translators who translate Chinese into another language are our Chinese. They translate their mother language into another language, in a sense, not as well-master as the people of target language. It causes a problem that the readers of target language cannot read and understand the translated version naturally and easily by Chinese translators. And the Chinese translators, most of them, are living in China, lack of the context of target language(Hu Anjiang,2010:11). &lt;br /&gt;
&lt;br /&gt;
Also, the Chinese translators who specialize in two languages and cultures are rare. What is more, the foreign translators familiar with Chinese culture is less. Therefore, according to Xu Jianping and Zhang Rongxi, the most effective way for Chinese-English translation is the cooperation of the original author and foreign translator of target language(2002:38). Howard Goldblatt and MoYan is the best example. And Howard himself also expresses the similar view(2014:201). &lt;br /&gt;
&lt;br /&gt;
Secondly, the translation strategy is also crucial. Chinese literature is the “weak literature”(Yin Lingwei,2020:109), so Xu Jianping thinks that foreignization should not be widely used in Chinese-English translation, because foreign readers’ understanding of China and its language and culture is far less than Chinese readers' understanding of foreign language and culture(2002:38). &lt;br /&gt;
&lt;br /&gt;
However, from the 1870s to the 1970s, for a hundred years, Chinese literary translation was roughly based on domestication; during the two decades of reform and opening up, inspired by Western translation theories, the Chinese translation community rethought foreignization and domestication, and the two methods have gradually become balanced in China. Therefore, Sun Zhili believes that the translation of Chinese literature in the 21st century will be dominated by foreignization(2002:40). &lt;br /&gt;
&lt;br /&gt;
Actually, it is not suitable to regard domestication and foreignization by dichotomy. Combining the two ways, the starting point should be to bring Chinese literary translations closer to Western readers through the domestication translation method, so as to enter the mainstream Western culture. Let Western readers first understand our cultural routines and ways of thinking, and then talk about further transformation and influence on the West Follow-up issues such as literary creation mode(Hu Anjiang,2010: 15). &lt;br /&gt;
&lt;br /&gt;
Finally, the responsibility of publishers and editors is also heavy. When Chinese literature goes out, the most in short supply of talents are intermediary talents, that is, intermediary agencies that can understand Chinese contemporary literary works, and at the same time understand the international market, and have a good background of cooperation with international publishing institutions...(Li Yun,2007) &lt;br /&gt;
&lt;br /&gt;
There is “the third readers” in the world. They usually don't pay much attention to the content when reading, because they are more in love with the readability or text style of the work. Also, they do not compare the translations with the original works, but only compare these translations with original English works or those literary translations translated from other languages into English. Paying more attention to such “fair readers” who pursue pure literary feeling and pure aesthetic experience will be an important guarantee for literary translations to gain the literary market, commercial profits and even the status of translated literary classics(Medougall,2007:23)&lt;br /&gt;
&lt;br /&gt;
There are &amp;quot;third readers&amp;quot; in the world. They usually pay less attention to the content when reading, because they prefer the readability or text style of the work. Moreover, they do not compare translations with original works, but only compare these translations with original English works or literary works translated into English from other languages. Paying more attention to &amp;quot;fair readers&amp;quot; who pursue pure literary sense and pure aesthetic experience will be an important guarantee for literary translation to gain the literary market, commercial profits and even the status of translated literary classics (Medougall, 2007: 23)&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 14:08, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
===Chapter5 Conclusion===&lt;br /&gt;
For any responsible translator, every choice made in the translation process is not random or blind, but has a clear consciousness and clear goals, and they strive to resolve various contradictions encountered in translation to achieve the value of translation(Liu Yunhong, 2014). Through analyzing the application of domestication and foreignization Howard Goldblatt’s translation of Mo Yan’s works, some enlightenment can be concluded. The translators, the translation strategies and the publisher and editor can be taken as the crucial aspects. &lt;br /&gt;
&lt;br /&gt;
For any responsible translator, every choice in the translation process is not random or blind, but with clear consciousness and clear goals. They strive to resolve various contradictions encountered in translation to achieve translation The value of (Liu Yunhong, 2014). By analyzing the application of domestication and foreignization, Howard Goldblatt translated Mo Yan's works and can draw some enlightenment. Translators, translation strategies, and publishers and editors can be seen as crucial aspects.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:42, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
Citing the words of Nida, for a truly successful translation, bilingual proficiency in culture is more important than in language, because words have meaning only in the culture in which they function(1993:83). This shows that in the process of translation, translators should not stick to a single domestication or foreignization translation strategy. They should comprehensively consider various factors such as language, culture, and readers’ comprehension, and adopt appropriate strategies to arrive at a degree of integration and adaptation for the highest translation.&lt;br /&gt;
&lt;br /&gt;
The needs of the target language culture have changed with the development of society and the changes of the times, and the target language readers' acceptance and understanding of Chinese culture have also increased with the increase of China's international influence. Many things that tended to be domesticated in the past are now or in the future using foreignized translations that are completely acceptable to the target language readers, and even look forward to them. Translating Chinese literary works with increasingly alienated strategies, allowing the world to read Chinese stories and understand Chinese culture is the only way for Chinese culture to “go out”.&lt;br /&gt;
&lt;br /&gt;
With the development of society and the changes of the times, the needs of the target language and culture have changed. With the increase of China's international influence, the target language readers' acceptance and understanding of Chinese culture has also increased. In the past or present, many things that tend to be domesticated will use the target language readers to fully accept and even hope their foreignized translations. Using increasingly alienated strategies to translate Chinese literary works so that the world can read Chinese stories and understand Chinese culture is the only way for Chinese culture to &amp;quot;go out&amp;quot;.&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 13:42, 18 December 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Goldblatt, Howard(2011). ''Big Breasts and Wide Hips'' [M]. New York: Arcade Publishing.&lt;br /&gt;
&lt;br /&gt;
*Goldblatt, Howard(1994). ''Red Sorghum'' [M]. New York: Viking Penguin.&lt;br /&gt;
&lt;br /&gt;
*Jonathan, Stalling(2014). ''The Voice of the Translator: An Interview with Howard Goldblatt'' [J]. Translation Review (1):1-12.&lt;br /&gt;
&lt;br /&gt;
*Lupke, Christopher(2011). ''Hankering after Sovereign Images'' [J]. Chinese Literature Today (1):48-56. &lt;br /&gt;
&lt;br /&gt;
*Medougall, Bonnie(2007). ''Literary Translation: The Pleasure Principle'' [J]. Chinese Translation(5):22-29. &lt;br /&gt;
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*Eugene, Nida(1993). ''Language,Culture and Translating'' [M]. Shanghai: Shanghai Foreign Language Education Press. &lt;br /&gt;
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*Venuti, Lawrence(2004). ''The Translator’s Invisibility: A History of Translation'' [M]. Shanghai: Shanghai Foreign Language Education Press. &lt;br /&gt;
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*Cao Shunying&amp;amp;Wang Miaomiao曹顺应，王苗苗.(2015).翻译与变异--与葛浩文教授的交谈关于翻译与变异的思考[J].[Translation and Variation--Conversation with Professor Howard Goldblatt on Translation and Variation].清华大学学报（哲学社会科学版）Journal of Tsinghua University(Social Science Edition) (1):124-128,183. &lt;br /&gt;
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*Updike,季进,林源(译).(2005).苦竹：两部中国小说[J].[Bitter Bamboo:Two Chinese Novels].当代作家评论Contemporary Writer Review (6):45-56.&lt;br /&gt;
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*Hu Anjiang胡安江.(2010).中国文学“走出去”之译者模式及翻译策略研究---以美国汉学家葛浩文为例[J].[Translator Model, Translating Strategy, and the “Going Out” Project to Promote Chinese Literature Abroad: With American Sinologist Howard Goldblatt as an Exemplar].中国翻译Chinese Translators Journal (6):10-16,92.&lt;br /&gt;
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*Ji Jin季进.(2009).我译故我在---葛浩文访谈录[J].[I Translate, Therefore I Am--An Interview with Howard Goldblatt].当代作家评论Contemporary Writer Review (6):45-56.&lt;br /&gt;
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*Jia Yanqin贾燕芹.(2012).翻译家葛浩文研究述评[J].[A Review of the Studies of Translator Howard Goldblatt].楚雄师范学院学报Journal of Chuxiong Normal University (8):62-67. &lt;br /&gt;
&lt;br /&gt;
*Li Xiaoqin李晓琴.(2020).葛浩文英译莫言小说翻译策略初探[J].[On Howard Goldblatt’s English Translation of Mo Yan's Novel Translation Strategies].英语广场English Square (23):20-22.  &lt;br /&gt;
&lt;br /&gt;
*Li Yun李芸.(2007).中国文学走出去，翻译是道坎[N].[When Chinese literature goes out, translation is a barrier].科学时报Science Times.  &lt;br /&gt;
&lt;br /&gt;
*Liu Yunhong&amp;amp;Xu Jun刘云虹,许钧.(2014).文学翻译模式与中国文学对外译介---关于葛浩文的翻译[J].[Literary Translation Models and the Introduction and Translation of Chinese Literature---On Howard Goldblatt’s Translation].外国语(上海外国语大学学报)Foreign Languages (Journal of Shanghai International Studies University) (3):6-17. &lt;br /&gt;
&lt;br /&gt;
*Lv Minhong吕敏宏.(2011).葛浩文小说翻译叙事研究[M].[A Study on Howard Goldblatt’s Novel Translation Narration].北京:中国社会科学出版社Beijing:China Social Sciences Press.&lt;br /&gt;
&lt;br /&gt;
*Mo Yan莫言.(2012).丰乳肥臀[M].[Big Breasts and Wide Hips].北京:作家出版社Beijing:Writers Publishing House. &lt;br /&gt;
&lt;br /&gt;
*Mo Yan莫言.(2007).红高粱家族[M].[Red Sorghum].北京:人民文学出版社Beijing:People's Literature Publishing House. &lt;br /&gt;
&lt;br /&gt;
*Mo Yan莫言.(2000).我在美国出版的三本书[J].[Three books I published in the U.S.].小说界Fiction (5):170-173. &lt;br /&gt;
&lt;br /&gt;
*Shao Lu邵璐.(2011).莫言小说英译研究[J].[A Study on English Translation of Mo Yan's Novels].中国比较文学Chinese Comparative Literature (1):45-56. &lt;br /&gt;
&lt;br /&gt;
*Shao Lu邵璐.(2013).莫言英译者葛浩文翻译中的“忠实”与“伪忠实”[J].[“Faithfulness” and “False Faithfulness” in the English Translation of Mo Yan by Howard Goldblatt ].中国翻译Chinese Translators Journal (3):62-67. &lt;br /&gt;
&lt;br /&gt;
*Shi Guoqiang史国强.(2013).葛浩文的“隐”与“不隐”---读英译《丰乳肥臀》[J].[Howard Goldblatt’s “Hidden” and “Not Hidden”--An English Translation of ''Big Breasts and Wide Hips'' ].当代作家评论Contemporary Writer Review (1):76-80. &lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼.(2002).中国的文学翻译：从归化趋向异化[J].[Chinese Literary Translation: From Domestication to Foreignization].中国翻译Chinese Translators Journal (1):40-44. &lt;br /&gt;
&lt;br /&gt;
*Wen Jun&amp;amp;Wang Xiaochuan&amp;amp;Lai Tian文军,王小川,赖甜.(2007).葛浩文翻译观探究[J].[On Howard Goldblatt’s Translation View].外语教学Foreign Language Teaching (6):78-80.&lt;br /&gt;
&lt;br /&gt;
*Xu Jianping&amp;amp;Zhang Rongxi许建平,张荣熙.(2002).跨文化翻译中的异化与归化问题[J].[Foreignization and Domestication in Cross-cultural Translation].中国翻译Chinese Translators Journal (5):36-39. &lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong许渊冲.(2012).再谈中国学派的文学翻译理论[J].[On the Literary Translation Theory of the Chinese School].中国翻译Chinese Translators Journal (4):83-90,127. &lt;br /&gt;
&lt;br /&gt;
*Yan Yixun&amp;amp;Howard Goldblatt闫怡恂,葛浩文.(2014).文学翻译：过程与标准---葛浩文访谈录[J].[Literary Translation: Process and Standards---Interview with Howard Goldblatt].当代作家评论Contemporary Writers Review (1):193-203.  &lt;br /&gt;
&lt;br /&gt;
*Yin Lingwei&amp;amp;Shen Xiangyu殷凌薇,沈翔宇.(2020).论葛浩文《蛙》英译本的忠实与背叛[J].[On the Faithfulness and Betrayal of Howard Goldblatt’s English Version of ''Frog''].北方工业大学学报Journal of North China University of Technology (3):108-113.  &lt;br /&gt;
&lt;br /&gt;
*Zhang Yaoping张耀平.(2005).拿汉语读，用英文写——说说葛浩文的翻译[J].[Read in Chinese, Write in English——A Talk about Howard Goldblatt’s Translation].中国翻译Chinese Translators Journal (2):75-77.&lt;br /&gt;
&lt;br /&gt;
==Domestication and Foreignization in the Course of Translation Under the Direction of Skopos Theory	谭星越	Tan Xingyue==&lt;br /&gt;
&amp;lt;center&amp;gt; 谭星越 Tan Xingyue,202020080642.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Domestication and foreignization were put forward by Lawrence Venuti, a famous translation theorist in America, in his book The Translator’s Invisibility: A History of Translation in 1995. Domesticating translation places emphasis on the target culture, which makes the original text more easily understood by the target-language readers, while foreignizing translation aims to produce the foreignness and cultural characteristics in the source text as much as possible.&lt;br /&gt;
Skopos theory was proposed by Reiss and Vermeer in the 1970s, which held that the purpose of translation determines the translation strategy. This thesis takes Skopos Theory as the basis of theoretical research, and analyzes the application and practice of domestication and foreignization in the course of translation.&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization were put forward by Lawrence Venuti, a famous translation theorist in America in his book ''The Translator’s Invisibility: A History of Translation'' in 1995. Domesticating translation places emphasis on the target culture, which makes the original text more understanable by the target-language readers, while foreignizing translation aims to produce the foreignness and cultural characteristics in the source text as much as possible.&lt;br /&gt;
Skopos theory was proposed by Reiss and Vermeer in the 1970s, which holds that the purpose of translation determines the translation strategy. This thesis takes Skopos Theory as the basis of theoretical research and analyzes the application and practice of domestication and foreignization in the course of translation.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:21, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Skopos Theory, domestication, foreignization&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
目的论视角下归化和异化在翻译过程中的应用&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出来的。归化翻译是一种倾向于译入语文化的翻译方法，使原文文本更加容易被目的语读者所接受。异化翻译则旨在尽可能地传递原文文本的异质性和文化特色。翻译目的论由赖斯和弗米尔于20世纪70年代提出，该理论认为翻译目的决定翻译策略。本文将以目的论作为理论研究的依据，分析归化和异化在翻译过程中的应用和实践。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
目的论，归化，异化&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
In the context of economic globalization, cultural exchanges are becoming increasingly frequent among countries. Translation, turning an original or “source” text into a text in another language, is an effective way of cultural communication. As a bridge of communication between cultures, translation plays an implacable role in the interaction. Since translation requires constant language choosing according to different context of culture, different translation theories have been proposed. Traditional translation theories focused on the equivalence of meaning and form of language, and literal translation and free translation were the main approaches. In the 1990s, there was a “cultural turn” in translation. The study of translation was no longer limited to the linguistic level, which has greatly widened the theoretical scope of translation. Lawrence Venuti, an American translation theorist, proposed two translation strategies: Domestication and foreignization.&lt;br /&gt;
In contemporary translation studies, Skopos Theory proposed by Vermeer is the landmark of functional approaches to translation, which is relatively accepted by the public. Vermeer (1987:26) held that translation is a kind of transformation behavior based on the original text and translation behavior is an intentional and purposeful behavior in a specific context.&lt;br /&gt;
The thesis is comprised of five sections. The first part presents an introduction of this thesis. The second part discusses the origination and formulation of Skopos Theory and three rules of Skopos Theory, including skopos rule, coherence rule and fidelity rule. The third part gives a brief interpretation of the two translation methods: domestication and foreignization. The fourth part analyzes the application and practice of the two methods in the course of translation under the direction of Skopos Theory. The last part draws a conclusion for this thesis.&lt;br /&gt;
&lt;br /&gt;
In the context of economic globalization, cultural exchanges are becoming increasingly frequent among countries. Translation, turning an original or “source” text into a text in another language, is an effective way of cultural communication. As a bridge of communication between cultures, translation plays an implacable role in the interaction. Since translation requires constant language choice according to different context of culture, different translation theories have been proposed. Traditional translation theories focused on the equivalence of meaning and form of language, and literal translation and free translation were the main approaches. In the 1990s, there was a “cultural turn” in translation. The study of translation was no longer limited to the linguistic level, which has greatly widened the theoretical scope of translation. Lawrence Venuti, an American translation theorist, proposed two translation strategies: Domestication and Foreignization.&lt;br /&gt;
In contemporary translation studies, Skopos Theory proposed by Vermeer as the landmark of functional approaches to translation is relatively accepted by the public. Vermeer (1987:26) held that translation is a kind of transformation behavior based on the original text and translation behavior is an intentional and purposeful behavior in a specific context.&lt;br /&gt;
The thesis is comprised of five sections. The first part presents an introduction of this thesis. The second part discusses the origination and formulation of Skopos Theory and three rules of Skopos Theory, including skopos rule, coherence rule and fidelity rule. The third part gives a brief interpretation of the two translation methods: domestication and foreignization. The fourth part analyzes the application and practice of the two methods in the course of translation under the direction of Skopos Theory. The last part draws a conclusion for this thesis.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Skopos Theory===&lt;br /&gt;
According to Gentlzer(1993:18), before the 1960s, translation was regarded as a kind of code-switching, reorganization and meaning equivalence of two languages. Under these circumstances, translation was listed as a branch of linguistics. For a long time, linguists devoted themselves to studying the translation methods, principles and standards in the linguistic range of research, without concerning the factors of external language, such as the author and reader, or the speaker and hearer. With going deep into the research work, a new theory based on the premise that linguistics is only a tool of translation study but not the object has been proposed. Proposers considered translation as a kind of communicative activity between human beings, in this case, pragmatic level should be given priority to translation study, and background knowledge such as the conventions, norms and habits of different cultures should not be ignored. This chapter will focus on the introduction to this new theory of translation study—Skopos Theory.&lt;br /&gt;
&lt;br /&gt;
According to Gentlzer(1993:18), before the 1960s, translation was regarded as a kind of code-switching, reorganization and meaning equivalence of two languages. Under these circumstances, translation was accounted as a branch of linguistics. For a long time, linguists devoted themselves to studying the translation methods, principles and standards in the linguistic range of research, without concerning the factors of external language, such as the author and reader, or the speaker and hearer. With going deep into the research work, a new theory has been proposed based on the premise that linguistics is only a tool of translation study but not the object. Proposers considered translation as a kind of communicative activity between human beings. In this case, pragmatic level should be given priority to translation study, and background knowledge such as the conventions, norms and habits of different cultures should not be ignored. This chapter will focus on the introduction to this new theory of translation study—Skopos Theory.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:00, 19 December 2020 (UTC)&lt;br /&gt;
====1.1 Origination and formulation of Skopos Theory====&lt;br /&gt;
The formulation and development of Skopos Theory has undergone four stages. The representative of the first stage was Katharina Reiss, who was one of the founders of Functional Approaches to translation. The early theories of Katharina Reiss were based on the concept of equivalence. Reiss(1984:21) advocated that the equivalence between translation had to shift its focus from word and sentence level to textual level and that translators should take translation strategies, language functions, discourse types and text genres into account in the process of translation. Based on the three characteristics of linguistic functions, Reiss divided texts into three types: informative type, expressive type and operative type. These three different types of texts respectively served the communication between content, the communication between artistically organized content and the communication between content with a persuasive character, as a result, translation strategies for different text types were proposed. But in later studies, she realized that equivalence between translation was an impossible-to-be-realized, therefore, Reiss revised her theory of Text Typology, and the analysis of text types was no longer the main reference of translation strategies. She held that the translator should give priority to the functional characteristics of the target text rather than the principle of equivalence, and in the whole process of translation, the communicative functions that the target language was expected to achieve should be of great significance in the cultural environment of the target language. Thus it can be seen that Reiss’s theory laid the foundation for the formulation of Skopos Theory of translation. &lt;br /&gt;
&lt;br /&gt;
The formulation and development of Skopos Theory has undergone four stages. The representative of the first stage was Katharina Reiss, who was one of the founders of Functional Approaches to translation. The early theories of Katharina Reiss were based on the concept of equivalence. Reiss(1984:21) advocated that the equivalence between translation had to shift its focus from word and sentence level to textual level and that translators should take translation strategies, language functions, discourse types and text genres into account in the process of translation. Based on the three characteristics of linguistic functions, Reiss divided texts into three types: informative type, expressive type and operative type. These three different types of texts respectively served the communication between content, the communication between artistically organized content and the communication between content with a persuasive character, as a result, translation strategies for different text types were proposed. But in later studies, she realized that equivalence between translation was an impossible-to-be-realized. Therefore, Reiss revised her theory of Text Typology, and the analysis of text types was no longer the main reference of translation strategies. She held that the translator should give priority to the functional characteristics of the target text rather than the principle of equivalence, and in the whole process of translation, the communicative functions that the target language was expected to achieve should be of great significance in the cultural environment of the target language. Thus, it can be seen that Reiss’s theory laid the foundation for the formulation of Skopos Theory of translation. --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the second stage, Vermeer (1987:27) broke through the limitations of equivalence theory, and took textual purpose as the primary criterion for the translation process. He developed functional skopos theory and made outstanding contributions to functionalist translation theory. He tried to build a bridge between practice and theory, considering that translation was a transformation of language, and also a kind of human behavior. As we all know, any action has its goal or purpose, and leads to a result, a new situation or event. This was why Vermeer named his theory as “Skopos Theory”, which was proposed in the 1970s in German. “Skopos” was a word in Greek, which meant “aim”, “purpose”, “intention” or “function”. Generally, &amp;quot;Skopos&amp;quot; referred to the communicative purpose of the translation. According to Vermeer’s Theory, the text’s purpose must remain a high priority, which will directly affect all aspects of the translation process. According to Vermeer, there were three purposes of translation: the translator's purpose, the purpose of dissemination of the translation, and the specific purpose of the special translation strategy. It was the initiator of the translation act that determined the purpose of the translation. But the translator did not passively accept everything. He can also act as the initiator, directly participating in determining the purpose of the translation (Zhang Jinlan, 2004:35). Moreover, Skopos Theory claimed that the intended purpose of the translation determined the methods and strategies of translation and that three rules of translation should be observed: skopos rule, coherence rule and fidelity rule.&lt;br /&gt;
&lt;br /&gt;
In the second stage, Vermeer (1987:27) broke through the limitations of equivalence theory and took textual purpose as the primary criterion for the translation process. He developed functional skopos theory and made outstanding contributions to functionalist translation theory. He tried to build a bridge between practice and theory, considering that translation was a transformation of language, and also a kind of human behavior. As we all know, any action has its goal or purpose and leads to a result, a new situation or event. This was why Vermeer named his theory as “Skopos Theory”, which was proposed in the 1970s in German. “Skopos” was a word in Greek, which meant “aim”, “purpose”, “intention” or “function”. Generally, &amp;quot;Skopos&amp;quot; referred to the communicative purpose of the translation. According to Vermeer’s Theory, the text’s purpose must remain a high priority, which will directly affect all aspects of the translation process. According to Vermeer, there were three purposes of translation: the translator's purpose, the purpose of dissemination of the translation, and the specific purpose of the special translation strategy. It was the initiator of the translation act that determined the purpose of the translation. But the translator did not passively accept everything. He can also act as the initiator, directly participating in determining the purpose of the translation (Zhang Jinlan, 2004:35). Moreover, Skopos Theory claims that the intended purpose of the translation determins the methods and strategies of translation and that three rules of translation should be observed: skopos rule, coherence rule and fidelity rule.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Translation Action based on the communication theory and action theory was elaborated by Justa Holtz Manttari in the third stage of the development of Skopos Theory, which has expanded the scope of functional translation theory. She regarded translation as a person-to-person, purpose-driven and result-oriented interaction activity. Manttari conducted a detailed analysis of the participants and behavior in the translation processes, mainly including the initiator / client, the commissioner, the ST producer, the TT producer, the TT user and the TT receiver. (Manttarri,1984: 398)Translation was the transfer of complex information including texts, pictures, sounds and languages between different cultures. The purpose of translation action was to overcome cultural and language barriers, so as to achieve cultural communication. She insisted that adaptations, compilations, edits and information inquiries were of essentiality in the process of translation activities, and she even included editing, consulting, and other activities related to foreign cultures into the translation action. The translator produced &amp;quot;message transmitter&amp;quot; that met the specific needs of the recipient's cultural background according to the client's requirements. As long as the target text can be produced to meet the client's needs, the task of translation was complete. In other words, the translation needed not be equivalent to the original, which contrived the theory of Translation Action to be an extreme functional theory.&lt;br /&gt;
&lt;br /&gt;
Translation Action based on the communication theory and action theory was elaborated by Justa Holtz Manttari in the third stage of the development of Skopos Theory, which has expanded the scope of functional translation theory. She regarded translation as a person-to-person, purpose-driven and result-oriented interaction activity. Manttari conducted a detailed analysis of the participants and behavior in the translation processes, mainly including the initiator / client, the commissioner, the ST producer, the TT producer, the TT user and the TT receiver. (Manttarri,1984: 398)Translation was the transfer of complex information including texts, pictures, sounds and languages among different cultures. The purpose of translation action was to overcome cultural and language barriers, so as to achieve cultural communication. She insisted that adaptations, compilations, edits and information inquiries were of essentiality in the process of translation activities, and she even included editing, consulting, and other activities related to foreign cultures into the translation action. The translator produced &amp;quot;message transmitter&amp;quot; that met the specific needs of the recipient's cultural background according to the client's requirements. As long as the target text can be produced to meet the client's needs, the task of translation was complete. In other words, the translation need not be equivalent to the original, which contrived the theory of Translation Action to be an extreme functional theory.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the fourth stage, Christian Nord (2001：12)proposed two kinds of translation strategies, in response to the fact that Manttari completely ignored the original text: (1)Documentary translation: it referred to record the information contained in the original text in the communication of target language; it emphasized the direct production of the original text regardless of the context of the target.(2) Instrumental translation: it referred to the translation that achieved different functions for the certain purposes in the target language culture. Nord's contribution to translation studies was many-sided, and she proposed the theory of Function plus Loyalty. Function referred to the factors that made the translation work in a predetermined way in the target language environment, while loyalty referred to the interpersonal relationship among the translator, the original author, the recipient of the translation, and the initiator of the translation. In Nord’s view, loyalty was a kind of concept that translators should be loyal to both the original text and the target of the translation, and that was different from the concept of fidelity or faithfulness which only focused on the relationship between the original and the translation.&lt;br /&gt;
&lt;br /&gt;
In the fourth stage, Christian Nord (2001：12)proposed two kinds of translation strategies, in response to the fact that Manttari completely ignored the original text: (1)Documentary translation: it referred to record the information contained in the original text in the communication of target language; it emphasized the direct production of the original text regardless of the context of the target.(2) Instrumental translation: it referred to the translation that achieved different functions for the certain purposes in the target language culture. Nord's contribution to translation studies was many-sided, and she proposed the theory of Function plus Loyalty. Function referred to the factors that made the translation work in a predetermined way in the target language environment, while loyalty referred to the interpersonal relationship among the translator, the original author, the recipient of the translation, and the initiator of the translation. In Nord’s view, loyalty was a kind of concept that translators should be loyal to both the original text and the target of the translation, and that was different from the concept of fidelity and faithfulness which only focused on the relationship between the original and the translation.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
It can be seen from the above that the landmark theories of the German functionalist approach were: Katharina Reiss’ Text Typology, Hans Josef Vermeer’ Skopos Theory, Justa Holtz Manttari’ Theory of Translation Action and Nord's Function plus Loyalty.&lt;br /&gt;
&lt;br /&gt;
====1.2 Three rules of the Skopos Theory====&lt;br /&gt;
The Skopos Theory proposed by Vermeer is the most important theory of functional approaches to translation. There were three ways to understand this word &amp;quot;skopos&amp;quot;: the purpose of the translator; the communicative purpose of the text; the purpose to be achieved by using a special translation strategies. Usually, &amp;quot;skopos&amp;quot; referred to the communicative purpose of the text. (Zhang Jinlan, 2004:36). First, under an ideal situation, the initiator of the translation will give details of the elements in the process of translation, such as the recipient of the translation, the environment in which the translation was used, and the functions that the translation should achieve. According to Skopos Theory, the primary rule followed by all translators was the “skopos rule”: The translation purpose determined the translation methods and strategies. Second, coherence rule pointed that the translation must meet the criteria of intra-textual coherence and that translated text must be sufficiently coherent to allow the intended addressees to comprehend it, given that their assumed background knowledge and situation circumstances. Third, fidelity rule meant that the translated text should bear some relationship with the corresponding source text, and there should be intra-textual coherence between the original text and the translation. Intra-textual coherence was similar to what was commonly referred to as fidelity to the original, and the degree and form of fidelity were determined by the purpose of the translation and the translator's understanding of the original.&lt;br /&gt;
&lt;br /&gt;
The Skopos Theory proposed by Vermeer is the most important theory of functional approaches to translation. There are three ways to understand this word &amp;quot;skopos&amp;quot;: the purpose of the translator; the communicative purpose of the text; the purpose to be achieved by using a special translation strategies. Usually, &amp;quot;skopos&amp;quot; referred to the communicative purpose of the text. (Zhang Jinlan, 2004:36). First, under an ideal situation, the initiator of the translation will give details of the elements in the process of translation, such as the recipient of the translation, the environment in which the translation was used, and the functions that the translation should achieve. According to Skopos Theory, the primary rule followed by all translators was the “skopos rule”: The translation purpose determined the translation methods and strategies. Second, coherence rule pointed that the translation must meet the criteria of intra-textual coherence and that translated text must be sufficiently coherent to allow the intended addressees to comprehend it, given that their assumed background knowledge and situation circumstances. Third, fidelity rule meant that the translated text should bear some relationship with the corresponding source text and there should be intra-textual coherence between the original text and the translation. Intra-textual coherence was similar to what was commonly referred to as fidelity to the original, and the degree and form of fidelity were determined by the purpose of the translation and the translator's understanding of the original.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Domestication and Foreignization===&lt;br /&gt;
As we all know, translation has shifted its emphasis from language conversion to cultural transformation. Translation is no longer only regarded as the transformation of language symbols, but a mode of cultural transformation. Since translation is closely related to culture, a problem naturally arises: how to deal with the cultural factors in the text, especially the text with great cultural differences between the source language and the target language. It is on the issue of how to deal with cultural differences in translation that there exist disagreements in the field of translation. Generally speaking, it can be divided into two opposite opinions, namely, domestication and foreignization.&lt;br /&gt;
&lt;br /&gt;
As we all know, translation has shifted its emphasis from language conversion to cultural transformation. Translation is no longer only regarded as the transformation of language symbols, but a mode of cultural transformation. Since translation is closely related to culture, a problem naturally arises: how to deal with the cultural factors in the text, especially in the text with great cultural differences between the source language and the target language. It is on the issue of how to deal with cultural differences in translation in which there exist disagreements in the field of translation. Generally speaking, it can be divided into two opposite opinions, namely, domestication and foreignization.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.1 Domestication====&lt;br /&gt;
Domestication is an important term in cultural criticism, cultural translation theory and cultural exchange. Due to the differences in geographical environment and social history, the differences between eastern and western cultures exist objectively. In other words, not every person in the west can understand the cultural symbols of the east. When dealing with various oriental materials, the oriental scholars in the west can only make some transformation based on some methods such as domestication or foreignization.&lt;br /&gt;
&lt;br /&gt;
Domestication is an important term in cultural criticism, cultural translation theory and cultural exchange. Due to the differences in geographical environment and social history, the differences between eastern and western cultures exist objectively. In other words, not all people in the west can understand the cultural symbols of the east. When dealing with various oriental materials, the oriental scholars in the west can only make some transformation based on some methods such as domestication or foreignization.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lawrence Venuti, a famous American translator, was the first person to introduce the term “domestication” in his book The Translator's Invisibility: A History of Translation. He proposed that domestication is an approach that the translator &amp;quot;leaves the reader in peace, as much as possible, and moves the author towards him&amp;quot; and that domesticating translation should abide by the current mainstream values of the target language and culture, openly adopt conservative assimilation methods to the translation of the original text, and cater to local canon, publishing trend and political needs. (Venuti, 2001:19)&lt;br /&gt;
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Lawrence Venuti, a famous American translator, was the first person to introduce the term “domestication” in his book ''The Translator's Invisibility: A History of Translation''. He proposed that domestication was an approach that the translator &amp;quot;leaves the reader in peace, as much as possible, and moves the author towards him&amp;quot; and that domesticating translation should abide by the current mainstream values of the target language and culture, and that openly adopted conservative assimilation methods to the translation of the original text, and that catered to local canon, publishing trend and political needs. (Venuti, 2001:19)--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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Schuttleworth and Cowie in their book Dictionary of Translation Studies defined “domestication” as “a term used to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers. . .it is identified with a policy common in dominant cultures which are aggressively monolingual, unreceptive to the foreign, and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with [target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other”.(Schuttleworth &amp;amp; Cowie, 2004:59)&lt;br /&gt;
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Schuttleworth and Cowie in their book ''Dictionary of Translation Studies'' defined “domestication” as “a term used to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers...it is identified with a policy common in dominant cultures which are aggressively monolingual, unreceptive to the foreign, and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with [target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other”.(Schuttleworth &amp;amp; Cowie, 2004:59)--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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Douglass Robinson, a Canadian translator who discussed domestication and foreignization from the perspective of postcolonial theory, defined domestication as a term used by translators who were strident advocates of foreignizing translation to describe the worst translation. This kind of translation adopts the way of domesticating the original text into the target culture and language values. Traditionally, this concept is often referred to as “free translation”. (Robinson, 1997:114)&lt;br /&gt;
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Douglass Robinson, a Canadian translator who discussed domestication and foreignization from the perspective of postcolonial theory, defined domestication as a term used by translators who were strident advocates of foreignizing translation to describe the worst translation. This kind of translation adopts the way of domesticating the original text into the target culture and language values. Traditionally, this concept is often referred to “free translation”. (Robinson, 1997:114)--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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Domesticating translation, which emerged in the 17th century when the translation activities mainly focused on the introduction of religious classics, classical literary works and the dissemination of Enlightenment thoughts, has been playing a dominant role in British for a long time. There were lots of scholars who firmly advocated the domesticating translation. For example, one of the representatives Eugene Nida has put forward the famous dynamic equivalence and the theory of reader’s response. He proposed that translation should achieve dynamic equivalence, not only in the form of expression, but also in accordance with the norms of the target language. He believed that the cultural category of the target readers should be taken into consideration in terms of expression, choice of words and sentences, and writing style, which should conform to the reading habits and reading psychology of the target readers (Nida, 2003:159). Meanwhile, in the United States, domesticating translation occupied the dominant position in the field of translation in a very long period of time. At that time, the critics in the United States strongly criticized those poems that tried to faithfully convey the exotic flavor of the original text, and publishers also strongly rejected this kind of foreignizing translation, which made it hard to get the chance of publication. They thought that only domesticating translation is the authentic translation, and in this way the translation can be read as if it is created in the target language. The translators completely vanish in the kind of fluent, domesticating translation that has erased every trace of exoticism.&lt;br /&gt;
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Domesticating translation that emerged in the 17th century when the translation activities mainly focused on the introduction of religious classics, classical literary works and the dissemination of Enlightenment thoughts, has been playing a dominant role in British for a long time. There were lots of scholars who firmly advocated the domesticating translation. For example, one of the representatives Eugene Nida has put forward the famous dynamic equivalence and the theory of reader’s response. He proposed that translation should achieve dynamic equivalence, not only in the form of expression, but also in accordance with the norms of the target language. He believed that the cultural category of the target readers should be taken into consideration in terms of expression, choice of words and sentences, and writing style, which should conform to the reading habits and reading psychology of the target readers (Nida, 2003:159). Meanwhile, in the United States, domesticating translation occupied the dominant position in the field of translation in a very long period. At that time, the critics in the United States strongly criticized those poems that tried to faithfully convey the exotic flavor of the original text, and publishers also strongly rejected this kind of foreignizing translation, which made it hard to get the chance of publication. They thought that only domesticating translation is the authentic translation, and in this way the translation can be read as if it is created in the target language. The translators completely vanish in the kind of fluent, domesticating translation that has erased every trace of exoticism.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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In some sense, domestication aims to transform the cultural identity of “the other” into the identity of “I”, so that the thoughts, values and behaviors of “the other” conform to “my” standards. As a result, cultural standardization eliminates and replaces cultural differences, leading to the emergence of cultural supremacy or ethnocentrism which refer to the tendency of all countries and nationalities to regard their own way of life, beliefs, values and codes of conduct as superior to others. Homi Bhabha ever claimed that with the global expansionism of the strong culture of Europe and America, non-western countries have been placed in a narrow narrative of progress and development and their civilization described as decadent and autocratic (An Feng, 2004: 15). Under this circumstance, Vetinu proposed the foreignizing translation in order to achieve the deconstruction of ethnocentrism.&lt;br /&gt;
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In some sense, domestication aims to transform the cultural identity of “the other” into that of “I”, so that the thoughts, values and behaviors of “the other” conform to “my” standards. As a result, cultural standardization eliminates and replaces cultural differences, leading to the emergence of cultural supremacy or ethnocentrism which refer to the tendency of all countries and nationalities to regard their own way of life, beliefs, values and codes of conduct as superior to others. Homi Bhabha ever claimed that with the global expansionism of the strong culture of Europe and America, non-western countries have been placed in a narrow narrative of progress and development and their civilization described as decadent and autocratic (An Feng, 2004: 15). Under this circumstance, Vetinu proposed the foreignizing translation in order to achieve the deconstruction of ethnocentrism.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Foreignization====&lt;br /&gt;
Based on a thorough study of the history of translation in the West from the 17th century to the present, Venuti (2001:23) found that the adoption of domesticating translation strategies was the dominant practice in the history of western translation. Such a translation tradition implies the fact that translators take the western ideology as the standard and foreign texts are shaped by the values of western nationalism and imperialism. Venuti has challenged this kind of translation tradition and firmly advocated foreignizing translation.&lt;br /&gt;
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Based on a thorough study of the history of translation in the West from the 17th century to the present, Venuti (2001:23) found that the adoption of domesticating translation strategies was the dominant practice in the history of western translation. Such a translation tradition implies the fact that translators take the western ideology as a standard and foreign texts are shaped by the values of western nationalism and imperialism. Venuti has challenged this kind of translation tradition and firmly advocated foreignizing translation.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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Venuti studied translation from the perspective of society and culture. His theory was directly derived from the German tradition of emphasizing foreignization, the influence of French thinker Derrida and the school of cultural studies. In the mid-18th century, German translators and writers have put other languages in the same position as German, and respect for foreign languages has become a guiding principle in the course of translation, from which people learn to adjust themselves to the heterogeneous elements in foreign texts. In the 19th and 20th century, attention to the foreignness of the original text has become an undercurrent in the study of German translation theory. During this period, the theorists were cautious and avoided the words of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;. They no longer focus on the unit of translation, but turn to the issue of the interpretation of cross-cultural text. For example, German scholar Schleiermacher ever stated:&lt;br /&gt;
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Venuti studied translation from the perspective of society and culture. His theory was directly derived from the German tradition of emphasizing foreignization, the influence of French thinker Derrida and the school of cultural studies. In the mid-18th century, German translators and writers have put other languages in the same position as German, and the respect for foreign languages has become a guiding principle in the course of translation, from which people learn to adjust themselves to the heterogeneous elements in foreign texts. In the 19th and 20th century, attention to the foreignness of the original text has become an undercurrent in the study of German translation theory. During this period, the theorists were cautious and avoided the words of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;. They no longer focus on the unit of translation, but turn to the issue of the interpretation of cross-cultural text. For example, German scholar Schleiermacher ever stated:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;An inner necessity, in which a peculiar calling of our people [the Germans] express itself clearly enough, has driven us to translating en masse; we cannot go back and we must go on. Just as our soil itself has no doubt become richer and richer fertile and our climate milder and more pleasant only after much transplantations of foreign flora, just so we sense that our language, because we exercise it less owing to our Nordic sluggishness, can thrive in all its freshness and completely develop its own power only through the most many-sided contacts with what is foreign.&amp;quot;(Schleiermacher, 2004:62)&lt;br /&gt;
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&amp;quot;An inner necessity, in which a peculiar calling of our people [the Germans] expresses itself clearly enough, has driven us to translating en masse; we cannot go back and we must go on. Just as our soil itself has no doubt become richer and richer fertile and our climate milder and more pleasant only after much transplantations of foreign flora, just so we sense that our language can thrive in all its freshness and completely develop its own power only through the most many-sided contacts with what is foreign because we exercise it less owing to our Nordic sluggishness, .&amp;quot;(Schleiermacher, 2004:62)--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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The German tradition of emphasizing “foreignness” (especially Schleiermacher's argument) provided the theorical basis and direction for Venuti's thoughts, then Derrida's &amp;quot;Deconstruction&amp;quot; philosophy provided a “strategy” for Venuti's translation theory. Derrida challenged all the traditional translation theories and practices with the concept of “differance” in his writing activity and deconstruction strategy. “Differance” is the source of uncertainty and difference. And the meaning of text is always be influenced by the temporization and spacing of the difference; therefore, meaning cannot be completely determined and the absolute translation of original text is always impossible (Graham, 1986:146). Deconstructive translation theory deconstructs the authority of the original text, and puts the translation on an equal and complementary position with the original, thus giving the translator more autonomy. Meanwhile, deconstructive translation theory emphasizes “difference”, and aims to achieve a deeper and more accurate understanding of the differences between languages through translation.&lt;br /&gt;
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The German tradition of emphasizing “foreignness” (especially Schleiermacher's argument) provided the theorical basis and direction for Venuti's thoughts, then Derrida's &amp;quot;Deconstruction&amp;quot; philosophy provided a “strategy” for Venuti's translation theory. Derrida challenged all the traditional translation theories and practices with the concept of “difference” in his writing activity and deconstruction strategy. “Difference” is the source of uncertainty and difference. And the meaning of text is always be influenced by the temporization and spacing of the difference; therefore, meaning cannot be completely determined and the absolute translation of original text is always impossible (Graham, 1986:146). Deconstructive translation theory deconstructs the authority of the original text, and puts the translation on an equal and complementary position with the original, thus giving the translator more autonomy. Meanwhile, deconstructive translation theory emphasizes “difference”, and aims to achieve a deeper and more accurate understanding of the differences between languages through translation.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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On the basis of previous scholars' theories, combined with American modernist translation theory, Venuti developed the connotation of foreignizing translation at least from the following aspects(Zhang Jinghua，2009:68): (1) The &amp;quot;heterogeneity&amp;quot; of modernist foreignization comes not only from foreign languages and cultures, but also from those excluded and marginalized discourses in local discourses. (2) The modernist text in foreignizing translation develops the idea of &amp;quot;translation autonomy&amp;quot; and enriches the connotation of foreignization translation in ethical sense, which also conforms to the Frankfurt School's thought of &amp;quot;artistic autonomy&amp;quot; in translation literature.(3) The foreignization of modernism advocates to promote the renewal of the target-language system with the help of marginal languages such as new words and ancient words. (4) In the discourse strategy, foreignizing translation endows translators with more freedom, highlights the subjectivity of the translator, and no longer relies solely on the literal translation.&lt;br /&gt;
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On the basis of previous scholars' theories, combined with American modernist translation theory, Venuti developed the connotation of foreignizing translation at least from the following aspects(Zhang Jinghua，2009:68): (1) The &amp;quot;heterogeneity&amp;quot; of modernist foreignization comes not only from foreign languages and cultures, but also from those excluded and marginalized discourses in local discourses. (2) The modernist text in foreignizing translation develops the idea of &amp;quot;translation autonomy&amp;quot; and enriches the connotation of foreignization translation in ethical sense, which also conforms to the Frankfurt School's thought of &amp;quot;artistic autonomy&amp;quot; in the translation of literature.(3) The foreignization of modernism advocates the promotion of the renewal of the target-language system with the help of marginal languages such as new words and ancient words. (4) In the discourse strategy, foreignizing translation endows translators with more freedom, highlights the subjectivity of the translator, and no longer relies solely on the literal translation.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 05:44, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 3 Translation Method under the Direction of Skopos Theory===&lt;br /&gt;
Translation is not only a process of language conversion, but also a behavior of cross-cultural communication. Translation is the bridge of cultural integration. The negation and exclusion of foreign cultures are incompatible with the role of translation as a cultural bridge; however, the overall acceptance of foreign language will also lead the original language to lose its &amp;quot;social identity&amp;quot;. XIE(Xie Yao,2017:360) stated that the translation work inevitably bears its cultural imprint, and domestication and foreignization are main ways to lessen the conflict between source language culture and target language culture. Foreignization does a good job in keeping the culture and images for the source language, while domestication means removing all strangeness and foreignness of the source text and making the translation clearly readable. &lt;br /&gt;
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Translation is not only a process of language conversion, but also a behavior of cross-cultural communication. Translation is the bridge of cultural integration. The negation and exclusion of foreign cultures are incompatible with the role of translation as a cultural bridge; however, the overall acceptance of foreign language will also lead the original language to lose its &amp;quot;social identity&amp;quot;.(Xie Yao,2017:360) stated that the translation work inevitably bears its cultural imprint, and domestication and foreignization are main ways to lessen the conflict between source language culture and target language culture. Foreignization does a good job in keeping the culture and images of the source language, while domestication means removing all strangeness and foreignness of the source text and making the translation clearly readable. --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:19, 19 December 2020 (UTC)&lt;br /&gt;
====3.1 Target reader-oriented approach — domestication====&lt;br /&gt;
If translators aim to produce equivalent translation, especially pragmatic equivalent translation to achieve communicative effect with fully understanding the semantic meaning and pragmatic meaning, and considering the acceptance and response of readers, the domesticating translation should be given priority. Therefore, one of the responsibilities of translators is to avoid cultural conflicts, which can lead to various forms of misunderstanding. When transplanting a text into another culture, the translator should carefully weigh the connotation of ideology in the culture. Therefore, we should try our best to transform the source language culture into the target language culture. At the same time, the translator is also a disseminator. In cross-cultural communication, he/she should eliminate barriers and deliver the meaning of the source culture to the readers of the target culture. Then, I will analyze the practice of domesticating translation combined with some examples.&lt;br /&gt;
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If translators aim to produce equivalent translation, especially pragmatic equivalent translation to achieve communicative effect with fully understanding the semantic meaning and pragmatic meaning, or considering the acceptance and response of readers, the domesticating translation should be given priority. Therefore, one of the responsibilities of translators is to avoid cultural conflicts, which can lead to various forms of misunderstanding. When transplanting a text into another culture, the translator should carefully weigh the connotation of ideology in the culture. Therefore, we should try our best to transform the source language culture into the target language culture. At the same time, the translator is also a disseminator. In cross-cultural communication, he/she should eliminate barriers and deliver the meaning of the source culture to the readers of the target culture. Then, I will analyze the practice of domesticating translation combined with some examples.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:19, 19 December 2020 (UTC)&lt;br /&gt;
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“煮茶非漫浪,要须其人与茶品相得。故其法每传于高流隐逸、有烟霞泉石磊磈于胸次间者。&lt;br /&gt;
The art of tea brewing is not for roman' s sake. The moral state of the brewer should match well with the quality of the tea. That explains why the techniques of tea brewing are usually handed down only to eremitic wisdoms with lofty characters and peaceful mind.&amp;quot; &lt;br /&gt;
(Jiang &amp;amp; Jiang，2009:36)&lt;br /&gt;
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“The art of tea brewing is not for roman' s sake”, the sentence pattern of this translation is obviously derived from “art for art's sake”, which reminds people of the aesthetic movement that appeared in the late 19th century in the field of British Art and Literature. “Art for art’s sake”, a slogan translated from the French “l’art pour l’art”, which was coined in the early 19th century by the French philosopher Victor Cousin. It expressed the belief held by many writers and artists, especially those associated with Aestheticism, that art needed no justification, and that it served no political, didactic, or other purposes. This form of expression has already been in the public eye for a long term. Therefore, the translator resorted to the domesticating method according to the cultural standards and traditions of the target language so that the information can be easily understood and accepted by the receptors. &lt;br /&gt;
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“The art of tea brewing is not for roman' s sake”, the sentence pattern of this translation is obviously derived from “art for art's sake”, which reminds people of the aesthetic movement that appeared in the late 19th century in the field of British Art and Literature. “Art for art’s sake”, a slogan translated from the French “l’art pour l’art”, which was coined in the early 19th century by the French philosopher Victor Cousin. It expressed the belief held by many writers and artists, especially those associated with Aestheticism, that art need no justification, and that it served no political, didactic, or other purposes. This form of expression has already been in the public's eye in the long term. Therefore, the translator resorted to the domesticating method according to the cultural standards and traditions of the target language so that the information can be easily understood and accepted by the receptors. --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:19, 19 December 2020 (UTC)&lt;br /&gt;
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Then, I take the translation of “角楼”, an ancient architecture in China, as another example. The word “角楼” has a long history, which first appeared in the book History of the Three Kingdoms · Wei Shu. It was built on the corner rampart. Because the horizon from the “角楼” is very wide and the enemy's situation can be observed clearly. Therefore, “角楼” was used as an important facility of the defense project in ancient times. At present, there are four “角楼” in the Palace Museum in Beijing. The most common translation of “角楼” is “turret”. The word &amp;quot;turret&amp;quot; originates from the Latin word &amp;quot;turris&amp;quot;, which means a small tower that projects vertically from the wall of a building such as a medieval castle and is used to provide a projecting defensive position allowing covering fire to the adjacent wall. It can be seen that the meaning of the word is very similar to that of the “角楼”. Here, the translator adopts the domesticating strategy to try to find the equivalent words of the image “角楼” in the western culture. Many more examples could be mentioned. For instance, “肉夹馍” is a famous snack in Xi’an and has been listed as a cultural heritage, which is one of the delicacies for foreign tourists to taste in Xi'an. The official translation of “肉夹馍” in Xi'an is “Rougamo”. However, the more well-known or widely spread translations are &amp;quot;Chinese hamburger&amp;quot; and &amp;quot;Chinese sandwich&amp;quot;, because foreign tourists think that “肉夹馍”is a popular Chinese &amp;quot;meat burger&amp;quot; or &amp;quot;meat sandwich&amp;quot;, and the translation here adopts the domestication strategy.&lt;br /&gt;
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Then, I take the translation of “角楼”, an ancient architecture in China, as another example. The word “角楼” has a long history, which first appeared in the book History of the Three Kingdoms · Wei Shu. It was built on the corner rampart. Because the horizon from the “角楼” is very wide and the enemy's situation can be observed clearly. Therefore, “角楼” was used as an important facility of the defense project in ancient times. At present, there are four “角楼” in the Palace Museum in Beijing. The most common translation of “角楼” is “turret”. The word &amp;quot;turret&amp;quot; originates from the Latin word &amp;quot;turris&amp;quot;, which means a small tower that projects vertically from the wall of a building such as a medieval castle and is used to provide a projecting defensive position allowing covering fire to the adjacent wall. It can be seen that the meaning of the word is very similar to that of the “角楼”. Here, the translator adopts the domesticating strategy to try to find the equivalent words of the image “角楼” in the western culture. Much more examples could be mentioned. For instance, “肉夹馍” is a famous snack in Xi’an and has been listed as a cultural heritage, which is one of the delicacies for foreign tourists to taste in Xi'an. The official translation of “肉夹馍” in Xi'an is “Rougamo”. However, the more well-known or widely spread translations are &amp;quot;Chinese hamburger&amp;quot; and &amp;quot;Chinese sandwich&amp;quot;, because foreign tourists think that “肉夹馍”is a popular Chinese &amp;quot;meat burger&amp;quot; or &amp;quot;meat sandwich&amp;quot;, and the translation here adopts the domestication strategy.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:19, 19 December 2020 (UTC)&lt;br /&gt;
====3.2 The purpose of source culture dissemination—foreignization====&lt;br /&gt;
For the sake of spreading the source language culture, translator should adopt foreignization so as to promulgate the culture of the original language to the target readers to the largest degree, stimulate the readers to learn the unknown source culture, help to overcome the obstacles in cross-cultural communication, and finally facilitate cultural integration. Then, I will analyze the practice of foreignizing translation combined with some examples.&lt;br /&gt;
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“凡采茶,在二月、三月、四月之间。&lt;br /&gt;
The second, third, fourth months of the lunar year are a proper time for almost all sorts of tea to get harvested.&amp;quot; &lt;br /&gt;
(Jiang &amp;amp; Jiang, 2009:48)&lt;br /&gt;
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During the Tang Dynasty, there was no strict time requirements for tea plucking. In the Classics of Tea, Lu Yu said that the optimum time for tea plucking was between February and April in the lunar calendar, that is to say, it is between March and May according to the current solar calendar. In this sentence, the translator supplemented the cultural element “the lunar year” for accurate time expression. The lunar calendar was established in ancient China based on the operating cycle of the moon, which has been used for thousands of years, guiding the Chinese nation's spring planting, autumn harvest, daily life, containing the wisdom of harmonious coexistence between the Chinese people and nature, and inheriting the continuous national life culture. With the western learning introduced into China, the solar calendar has gradually become a common social calendar, and the lunar calendar is to a large extent an expression of life customs and the inheritance of folk customs. The translator used communicative translation strategies to explain the precise season of tea-picking to the target readers. From the perspective of cultural communication and the expectations of the target readers, the translator tried his best to make the target readers appreciate the exotic and unique cultural information of the source text in the process of compensating for cultural defaults. For publicity translation, the original text can be regarded as a collection of languages, and also a mirror of national history and culture. It can be said that any text is always loaded with certain cultural information to show its unique national cultural temperament. In order to achieve cultural exchange, translators convey the cultural information in the original text accurately and faithfully. This is a good example of foreignizing translation.&lt;br /&gt;
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During the Tang Dynasty, there was no strict time requirements for tea plucking. In the Classics of Tea, Lu Yu said that the optimum time for tea plucking was between February and April in the lunar calendar, that is to say, it is between March and May according to the current solar calendar. In this sentence, the translator supplemented the cultural element “the lunar year” for accurate time expression. The lunar calendar was established in ancient China based on the operating cycle of the moon, which has been used for thousands of years, guiding the Chinese nation's spring planting, autumn harvest, daily life, containing the wisdom of harmonious coexistence between the Chinese people and nature, and inheriting the continuous national life culture. With the western learning introducing into China, the solar calendar has gradually become a common social calendar, and the lunar calendar is to a large extent an expression of life customs and the inheritance of folk customs. The translator used communicative translation strategies to explain the precise season of tea-picking to the target readers. From the perspective of cultural communication and the expectations of the target readers, the translator tried his best to make the target readers appreciate the exotic and unique cultural information of the source text in the process of compensating for cultural defaults. For publicity translation, the original text can be regarded as a collection of languages, and also a mirror of national history and culture. It can be said that any text is always loaded with certain cultural information to show its unique national cultural temperament. In order to achieve cultural exchange, translators convey the cultural information in the original text accurately and faithfully. This is a good example of foreignizing translation.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:19, 19 December 2020 (UTC)&lt;br /&gt;
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Then, I take the translation of “谋事在人，成事在天”, an ancient proverb in The Dream of Red Mansions, as another example. David Hawkes translated it into “Man proposes, God disposes”. He quoted Western proverbs to express the central idea of the original sentence. However, his translation of “天” into “god” was based on his western mode of thinking. Hawkes' translation ignored the differences of religious and cultural information and failed to convey the cultural elements of the original text. However, Yang Xianyi translated this proverb into “Man proposes, Heaven disposes”. Besides, “阿弥陀佛” appeared many times in the novel, and Hawkes translated into “my Lord” or “my God” while Yang Xianyi translated into “Amida Buddha”, which showed the character's Buddhist belief. We can clearly see that Yang Xianyi employed the foreignizing translation. In the course of translation, foreignization is more favorable to show the cultural differences to the readers, and enable them to understand the Chinese religious and other cultural backgrounds more accurately.&lt;br /&gt;
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Then, I take the translation of “谋事在人，成事在天”, an ancient proverb in ''The Dream of Red Mansions'', as another example. David Hawkes translated it into “Man proposes, God disposes”. He quoted Western proverbs to express the central idea of the original sentence. However, his translation of “天” into “god” was based on his western mode of thinking. Hawkes' translation ignored the differences of religious and cultural information and failed to convey the cultural elements of the original text. However, Yang Xianyi translated this proverb into “Man proposes, Heaven disposes”. Besides, “阿弥陀佛” appeared many times in the novel. Hawkes translated into “my Lord” or “my God” while Yang Xianyi translated into “Amida Buddha”, which showed the character's Buddhist belief. We can clearly see that Yang Xianyi employed the foreignizing translation. In the course of translation, foreignization is more favorable to show the cultural differences to the readers, and enable them to understand the Chinese religious and other cultural backgrounds more accurately.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Based on Skopos Theory, combined with the prop criterions of skopos rule, this thesis studies the domestication and foreignization in the course of translation. It should be said that the two strategies, domestication and foreignization, are not opposite or even contradictory, but complementary in translation. Cultural transplantation would be successfully achieved with a variety of methods and models. With Skopos theory applied to make a comprehensive analysis of various factors involved in translation, we can conclude that translators can adopt the principles and methods of both domestication and foreignization. (Guo Jianzhong,1998:5)As for to what extent source culture must be preserved in the translation, how to preserve it, and to what extent source culture must be adjusted to adapt to the target culture, we have to make a choice based on our correct understanding of the nature and the purpose of translation and the demands of target readers. Therefore, it is important for translators to have a deep cultural awareness in the process of translation, and to be sensitive to the similarities and differences between the two cultures. In addition, once one kind of translation method has been employed in a particular text during the process of translation, the translator better keep this basic tendency as far as possible.&lt;br /&gt;
&lt;br /&gt;
Based on Skopos Theory, combined with the prop criteria of skopos rule, this thesis studies the domestication and foreignization in the course of translation. It should be said that the two strategies, domestication and foreignization, are not opposite or even contradictory, but complementary in translation. Cultural transplantation would be successfully achieved with a variety of methods and models. With Skopos theory applied to make a comprehensive analysis of various factors involved in translation, we can conclude that translators can adopt the principles and methods of both domestication and foreignization. (Guo Jianzhong,1998:5)As for to what extent source culture must be preserved in the translation, how to preserve it, and to what extent source culture must be adjusted to adapt to the target culture, we have to make a choice based on our correct understanding of the nature and the purpose of translation and the demands of target readers. Therefore, it is important for translators to have a deep cultural awareness in the process of translation, and to be sensitive to the similarities and differences between the two cultures. In addition, once one kind of translation method has been employed in a particular text during the process of translation, the translator better keep this basic tendency as far as possible.--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Gentzler, Edwin.(1993). ''Contemporary Translation Theories'' [M]. London: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Graham, Joseph.(1986). ''Difference in Translation''[M]. Ithaca: Cornell University Press.&lt;br /&gt;
&lt;br /&gt;
*Justa Holz-Manttari.(1984). ''Translatorisches Handeln, Theorie und Methode''[M]. Distributor, Akateeminen Kirjakauppa.&lt;br /&gt;
&lt;br /&gt;
*Nida, Eugene. A. (2003). ''Toward a Science of Translating''[M]. Brill Academic Publishers.&lt;br /&gt;
&lt;br /&gt;
*Nord, Christiane.(2001). ''Translating as a Purposeful Activity: Functional Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Reiss, Katharine. &amp;amp;Vermeer, Hans. J. (1984). ''Towards a General Theory of Translational Action: Skopos Theory Explained'' [M]. London: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Robinson, Douglass. (1997). ''Translation and Empire: Postcolonial Theory Explained''[M]. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Schleiermacher, Friedrich. (2004). ''On the Different Methods of Translating''[A]. In Lawrence Venuti ed. The Translation Studies Reader[C]. London: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Schuttleworth, Mark. &amp;amp; Cowie, Moria. (1997). ''Dictionary of Translation Studies''[C]. Manehester: St Jerome. &lt;br /&gt;
&lt;br /&gt;
*Vermeer, Hans. J. (1987). ''What does it Mean to Translate'' [J]. Indian Journal of Applied Linguistics (2):25-33.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence.(2001). ''The Translator’s Invisibility: History of Translation''[M]. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*An Feng安锋.(2004). 霍米·巴巴“后殖民理论研究”[D].[ Homi Bhabha’s Study on Postcolonial Theory ]. 北京语言大学Beijing Language and Culture University.&lt;br /&gt;
&lt;br /&gt;
*Guo Jianzhong郭建中.(1998).翻译中的文化因素:异化与归化[J].[Cultural Factors in Translation:Foreignization and Domestication].上海外国语大学学报Journal of Shanghai International Studies University (2):3-5.&lt;br /&gt;
&lt;br /&gt;
*Jiang Xin&amp;amp;Jiang Yi（唐）陆羽，姜欣, 姜怡（译）. (2009).大中华文库·茶经[M]．[The Classics of Tea].湖南：湖南人民出版社Hunan People's Press．&lt;br /&gt;
&lt;br /&gt;
*Xie Yao 谢瑶.(2017).“一带一路”背景下中国茶文学作品的归化翻译与异化翻译[J].[Domesticating and Foreignizing Translation of Chinese Tea Literature in the Context of Belt and Road].福建茶叶Fujian Tea(2) :360-361．&lt;br /&gt;
&lt;br /&gt;
*Zhang Jinghua 张景华.(2009). 翻译伦理：韦努蒂翻译思想研究[M].[Ethics of Translation: A Study of Venuti's Thought on Translation]. 上海交通大学出版社Shanghai Jiao Tong University Press. &lt;br /&gt;
&lt;br /&gt;
*Zhang Jinlan张锦兰. (2004).目的论与翻译方法[J].[The Skopos Theory and Translation Method]. 中国科技翻译 Technology Translation in China(1):35-37.&lt;br /&gt;
&lt;br /&gt;
==Study of domestication and foreignization in cross cultural translation 	周罗平	Zhou Luoping==&lt;br /&gt;
&amp;lt;center&amp;gt; 周罗平 Zhou Luoping,202020080670.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two strategies to deal with culture: domestication and foreignization. This article will introduce domestication and foreignization and explore how to use them in cross-cultural translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; Hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two strategies to deal with culture: domestication and foreignization. This article will introduce domestication and foreignization and explore how to use them in cross-cultural translation.--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 09:26, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Domestication  Foreignization  Cross-cultural Translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
跨文化翻译中归化和异化研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
语言是文化的载体，是文化间传播和交流的媒介。语言和文化之间密不可分。在文化交流日益频繁的今天，用翻译去传递不同文化之间的信息就显得格外重要。翻译不仅仅是将一种语言转化为另一种语言，更要关注不同语言背后所承载的历史背景和文化传统，故在跨文化翻译中，译者应掌握处理文化的两种翻译方法：归化和异化。本文将系统地介绍归化和异化这两种翻译策略，并探究在跨文化翻译中如何选择使用这两种翻译策略。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
归化 异化 跨文化翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Influenced by different geographical environment, historical development and other factors, different nations and countries form their unique culture. Translation plays an important role in cross-cultural communication. The translator as the main body of translation activities should convey the culture of one language in another language. In this process, the translator is faced with how and to what extent to show the cultural connotation of source language; therefore, the translator is bound to face the choice between domestication and foreignization.&lt;br /&gt;
&lt;br /&gt;
Domestication, oriented by the target language culture, aims to eliminate the strangeness brought about by the source text, but it also reduces the opportunities for the target readers to contact with foreign cultures. While foreignization, oriented by the source language culture, aims to retain the unique style and cultural characteristics of the source language, but it will increase the reading difficulty. The best way is to combine domestication with foreignization. Therefore, the translator should fully consider the type of the text and the readers of the translation and then choose the translation strategies and methods reasonably.&lt;br /&gt;
&lt;br /&gt;
This paper will be divided into five parts. The first part is the introduction of this paper. The second part is the introduction of domestication and foreignization, as well as a brief introduction of the representatives of domestication and foreignization. The third part is an analysis of the factors that influence the choice of domestication and foreignization. The fourth part introduces the translation methods under domestication and foreignization. The fifth part is the conclusion.&lt;br /&gt;
&lt;br /&gt;
Influenced by different geographical environment, historical development and other factors, different nations and countries form their unique culture. Translation plays an important role in cross-cultural communication. The translator as the main body of translation activities should convey the culture of one language in another language. In this process, the translator is faced with how and to what extent to show the cultural connotation of source language; Therefore, the translator is bound to face the choice between domestication and foreignization.&lt;br /&gt;
&lt;br /&gt;
Domestication, oriented by the target language culture, aims to eliminate the strangeness brought by the source text, but it also reduces the opportunities for the target readers to contact with foreign cultures. While foreignization, oriented by the source language culture, aims to retain the unique style and cultural characteristics of the source language, but it will increase the reading difficulty. The best way is to combine domestication with foreignization. Therefore, the translator should fully consider the type of the text and the readers of the translation and then choose the translation strategies and methods reasonably.&lt;br /&gt;
&lt;br /&gt;
This paper will be divided into five parts. The first part is the introduction of this paper. The second part is the introduction of domestication and foreignization, as well as a brief introduction of the representatives of domestication and foreignization. The third part is an analysis of the factors that influence the choice of domestication and foreignization. The fourth part introduces the translation methods under domestication and foreignization. The fifth part is the conclusion.--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 09:33, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Domestication and Foreignization===&lt;br /&gt;
The terms domestication and foreignization were first put forward by Lawrence Venuti in his work The Translator’s Invisibility. The two concepts of foreignization and domestication are defined by Venuti based on Schleiermacher’s distinction between the two different translation orientations. Schleiermacher clearly pointed out that there can be only two ways of Translating. Either by keeping the author as still as possible, so as to lead the reader to the author; the other is to keep the reader as still as possible, thereby guiding the author to approach the reader. Venuti, on the basis of Schleiermacher’s distinction, called the former foreignization and the latter domestication (Jiang 2016，146-147).&lt;br /&gt;
&lt;br /&gt;
The terms domestication and foreignization were first put forward by Lawrence Venuti in his work The Translator’s Invisibility. These two concepts are defined by Venuti based on Schleiermacher’s distinction between two different translation orientations. Schleiermacher clearly pointed out that there can be only two ways of translating. Either by keeping the author as still as possible, so as to lead the reader to the author; the other is to keep the reader as still as possible, thereby guiding the author to approach the reader. Venuti, on the basis of Schleiermacher’s distinction, called the former foreignization and the latter domestication (Jiang 2016，146-147).--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 09:37, 19 December 2020 (UTC)&lt;br /&gt;
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====1.1 Introduction of Domestication====&lt;br /&gt;
According to Venuti, domestication is actually an ethnocentric practice, bringing foreign texts into the cultural values of the target language and thus bringing the author back home. Therefore, in the process of translation, the translator follows the target language culture and adopts conservative methods to assimilate the original text so as to meet the needs of the target language readers (Venuti 2009, 20). &lt;br /&gt;
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In this sense, the biggest advantage of the domestication is that it makes the translated works more easily accepted by the target language readers and that readers can better understand the connotation of the source text. In addition, domestication well reflects the coexistence of different cultures in the process of communication, and shows that translators seek common ground when facing culture differences and conflicts. Of course, every coin has two sides. Domestication translation also has its shortcomings. When translators adopt domestication, they tend to assimilate part of the original content with different language style or unique national culture, which makes the translation lose the characteristics of the original text, thus affecting the communication and spread of different cultures and hinders readers’ understanding of foreign culture (He 2019, 70).&lt;br /&gt;
&lt;br /&gt;
Eugene Nida is the representative figure advocating domestication. Nida’s functional equivalence theory or dynamic equivalence theory shows that he is a supporter of domesticating translation. His dynamic equivalence theory shows that he pursues the most natural equivalence translation. He once said that “dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language” (Nida &amp;amp; Taber 2004, 24). &lt;br /&gt;
&lt;br /&gt;
In other words, dynamic equivalence means that the reader’s response to the translation is consistent with that of the original. Nida’s dynamic equivalence theory fully considers the reader’s language culture and the reader’s ability to appreciate the translation. Therefore, in the course of translating, the translator should take the completely natural and smooth language expression as the goal. In order to make the translation natural and smooth, the translator must make some adjustments to the original text. Some heterogeneous cultures which are not accepted by readers should be eliminated as much as possible. Nida’s dynamic equivalence theory takes the reader into full consideration. It aims to eliminate the readers’ strangeness to the original content and let readers better understand the thought and meaning of the original text, which precisely reflects the characteristics of domesticating translation.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Foreignization====&lt;br /&gt;
Foreignization is an ethnodeviant practice, keeping language and cultural differences of the original texts as far as possible and thus sending the reader abroad. In other words, in order to show the cultural characteristics of the source work, translators use foreignising translation to retain the characteristics of the source text and try to keep the writing techniques used by the author of the source language. Hence, for the readers of the target language, the translation is exotic and unfamiliar (Venuti 2009, 20).    &lt;br /&gt;
&lt;br /&gt;
Same to the domestication, foreignization also has its advantages and disadvantages. Foreignization, by transplanting the culture of the source language into the culture of the target language, enriches the culture of the target language to a great extent. For example, the Chinese phrase “武装到牙齿” is translated as “armed to the teeth”, which greatly spreads Chinese culture and enriches the English and Chinese language culture. Of course, foreignization also has its limitations. Some cultural differences and language differences are difficult to overcome. If foreignization is adopted blindly in the process of translation, there will produce some translations that readers cannot understand and accept, and translation will also lose its function of cultural communication (He 2019, 71).&lt;br /&gt;
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Schleiermacher and Venuti are strong supporters of foreignization. Schleiermacher’s preferred strategy is to accommodate the reader to the author. He claims that translations need not be same as the original author writes in the source language. The translation doesn’t conform to the general expression habits of the target language. He believes that a translator who knows the target language can help target readers who are not proficient in the foreign language but have a strong understanding of the original text. To achieve this goal, the translator must adopt the foreignization translation, emphasize the value of heterogeneous culture, and ensure the faithfulness to the original text by subordinating the words in the target text to the source language. In this way, the translation can be faithful to the meaning of the original text and can introduce heterogeneous cultures and concepts to readers of target language (Jiang 2016, 147).&lt;br /&gt;
&lt;br /&gt;
In his book The Translator’s Invisibility, Venuti expresses his understanding and support for foreignization translation in detail. He believes that foreignization translation is a kind of translation strategy that preserves and highlights the heterogeneity of the original text in the translation. Firstly, he believes that foreignization is reflected in the selection of translation materials. He mainly aims at the classic translation of literature and culture of the target language instead of scientific translation. In the process of foreignising translation, the translator chooses a foreign text which is different from the mainstream culture of the target language, which can change the cultural composition of the target language (Venuti 2009, 42). &lt;br /&gt;
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Secondly, foreignization translation is reflected in the language used by the translator. This means that in the process of translation, the closer the language style of the translation is to the language style of the original, the more heterogeneous the readers will feel. Moreover, Venuti advocates that in the process of translation, the translator should use words that are not commonly used and non-standard. Translators should mix slang, neologism or archaic words to achieve heterogeneous effects. In this way, the foreignization style of translation highlights the heterogeneity of foreign texts and challenges and resists the mainstream culture of the target language (Venuti 2009, 35). &lt;br /&gt;
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Thirdly, foreignization translation is embodied in cultural alienation. By highlighting the cultural differences caused by language differences, foreignization translation promotes the development of cultural diversity, helps to resist the hegemony of European and American culture, and helps to promote the development of culture and language of weak and small nations (Venuti 2009, 21). &lt;br /&gt;
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Fourthly, foreignising translation highlights and enhances the status of the translator, which changes the phenomenon that the smooth translation makes the translator invisible in the past, thus promoting translation research to gradually move to the academic center. Venuti elaborates that smooth translation has long occupied the mainstream position in the history of western translation, and the fluency of translation has become the standard to judge whether a translation is good or not. Venuti challenges and questions this phenomenon. The smooth translation covers up the translator’s intervention and interpretation of the original text, and covered up the language and cultural differences of the original work (Venuti 2009, 17). &lt;br /&gt;
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Therefore, he puts forward the concept of resistant translation to expound his translation thoughts. Resistant translation refers to a translation strategy that preserves some heterogeneity in literary translation. The object of resistance is the prevailing translation thought in British and American culture, that is, fluent translation is acceptable translation. Venuti challenges the dominant position of British and American culture and introduces the idea of weak culture by advocating resistant translation (Jiang 2016, 169). &lt;br /&gt;
&lt;br /&gt;
Translation is not only a process of seeking similarities between languages and cultures, but also a process of facing the differences between languages and cultures. Translators cannot completely and thoroughly eliminate these differences. Therefore, a good translation must be the blending and collision of different cultures, from which the readers can better understand and perceive cultural diversity (Jiang 2016, 170).&lt;br /&gt;
&lt;br /&gt;
====1.3 Literal translation, free translation, domestication, and foreignization====&lt;br /&gt;
There are a lot of discussions on the translation strategies of domestication and foreignization, and literal translation and free translation. Many people think that domestication is equal to free translation, while foreignization is equal to literal translation. I don’t think so. In this section, I will make a comparison and distinction between the two groups of translation concepts. &lt;br /&gt;
&lt;br /&gt;
Literal translation refers to the translation that maintains the content and style of the original text while following the norms of the target language. Literal translation starts with word to word translation (Shuttleworth &amp;amp; Moira 2005, 129). However, due to the need to be consistent with the grammar of the target language, the final target text may also present the equivalence of phrase to phrase or clause to clause. Free translation, as opposed to literal translation, refers to the translation that reads naturally, rather than the type of translation that completely retains the wording of the source text. Free translation is usually oriented to the target language (Shuttleworth &amp;amp; Moira 2005, 84).&lt;br /&gt;
&lt;br /&gt;
As mentioned before, domesticating translation covers up the differences between different cultures and weakens the strangeness of the original. The translation produced by domestication is very fluent and natural so that readers are able to read and understand the translation according to their own language expressions. Foreignising translation requires the translation to show the heterogeneity of the original text and convey the foreign cultural characteristics of the original text as far as possible so that the reader will feel a strange feeling when reading the translated text and sometimes they will have some misunderstanding or questions that are caused by exotic culture. &lt;br /&gt;
&lt;br /&gt;
Literal translation and free translation emphasize whether the translation is consistent with the original text in terms of language form and style. Domestication and foreignization not only emphasizes the language level, but also pays attention to whether the values and cultural traditions conform to the expression habits of the target language. Additionally, it is worth mentioning that literal translation and free translation are static opposites. Whether the translation is faithful to the original is mainly seen from the linguistic unit. Domestication and foreignization is a pair of dynamic opposites. With the frequency of cultural exchanges and the passage of time, the original foreignization will become domestication. Therefore, we cannot easily equate literal translation with foreignization, nor can we equate free translation with domestication (Lu 2018, 57).&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Factors influencing the choice of domestication and foreignization===&lt;br /&gt;
In cross-cultural translation, translators are always faced with the choice of domestication and foreignization. Then, how does the translator make a choice? This chapter will explore some factors that influence the choice of translation strategies of domestication and foreignization, and then discuss when to domesticate and when to foreignize the text.&lt;br /&gt;
&lt;br /&gt;
====2.1 The type of the text==== &lt;br /&gt;
Different text has its own function. When dealing with different kinds of texts, translators should choose different translation strategies to translate text and to better show the function of the text. Newmark, a famous translator, divides text into three types according to its content and style: expressive function, informational function, and vocative function.&lt;br /&gt;
&lt;br /&gt;
Expressive text mainly has literary value or shows the author’s unique writing style, including some serious literary works, such as some serious imaginative literature, authoritative statements and some literary works like personal letters, autobiography, and essay. Expressive text emphasizes the expressive function of language. This kind of the text takes the authority of the original author into consideration and pays less attention to readers’ responses (Newmark 2001, 39). &lt;br /&gt;
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Compared with other types of texts, expressive texts use artistic and beautiful language, with the purpose of creating artistic images, so that readers can be inspired and moved by the language in the process of reading. The characteristics of expressive texts require translators to translate not only meaning, but also the emotion in the process of translation, so as to reproduce the artistic characteristics of the original text to the greatest extent and make readers feel the artistic charm of the source text when reading the translated text. Therefore, the linguistic features and purposes of expressive texts require translators to use foreignization as much as possible to reflect the exotic flavor of the source language and reproduce the artistic features of the source text (Wang 2008, 138).&lt;br /&gt;
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Informative text is mainly to convey the original information to readers truthfully and smoothly, mainly including technical reports, articles in newspapers or periodical, general teaching materials, product descriptions and other text whose content is more important than form. This kind of text is created without author’s personal emotion and its main function is to lead readers to know and understand information (Newmark 2001, 40). &lt;br /&gt;
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These characteristics require translators to focus on the content of the text and uses simple or clear expression as far as possible to convey the content so that readers can fully accept the meaning; therefore, it’s better to use domestication as much as possible to reproduce the content of the original text instead of sticking to the language styles. &lt;br /&gt;
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Vocative text is mainly to call readers to take action, to think, and to make reaction, including notice, instruction, and advertisement. This type of text emphasizes the infective function of the language and it takes readers as center. Vocative text emphasizes the readability of the text and the acceptability of the reader. It is necessary to put the readers of the target language in the first place and take their culture and receptivity into consideration, so that they can clearly get the information (Newmark 2001, 41).&lt;br /&gt;
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Therefore, when translating such texts, translators should grasp the cultural differences between different languages and put the cultural habits of target readers in the first place. Only in this way can readers truly think, feel, and act. Additionally, in the course of translation, translators should give full play to the linguistic advantages of the target language and should not be limited to the expression of the original text, so as to achieve the same effect as the original language as far as possible (Wang 2008, 139).&lt;br /&gt;
&lt;br /&gt;
According to Newmark, the division of text is not absolute, and most texts have all three functions at the same time with one or two of them dominate (Newmark 2001, 42). &lt;br /&gt;
&lt;br /&gt;
Hence, in the actual translation, domestication and foreignization should be combined. They are not always antithetical; on the contrary, they complement each other. When choosing foreignising translation strategy, translators should pay attention to the smoothness and understandability of the target text. When choosing the domestication translation strategy, translators should also pay attention not to lose the flavor and style of the original text. During translating, to a certain extent, translators have freedom so they should give full play to the advantages of the two translation strategies. Translators can adopt domesticating translation to familiarize language expression and use foreignising translation to keep cultural elements (He 2019, 71).&lt;br /&gt;
&lt;br /&gt;
====2.2 Readers of the target language====&lt;br /&gt;
The translator choosing which translation strategy is not only influenced by the type of text, but also by the target readers. Reader is an important factor influencing the choice of domestication and foreignization so translator should take readers’ age, gender and educational level in the consideration in the course of translation. &lt;br /&gt;
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The translation under the domestication strategy is smooth and natural and it’s easier to be accepted by readers. Therefore, if the target readers of the translated text are young children or readers with low education level, the translator can use the domestication strategy more when translating, so that the readers can understand and accept the information of the translated text  (Zhang &amp;amp; Wang 2007, 147). &lt;br /&gt;
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However, the translation under the foreignization strategy aims at revealing the heterogeneity of the source culture, spreading foreign culture, and preserving the unique expression and original flavor of the original text. Such a translation may be awkward and difficult to understand. If the readers of the target text are highly educated, highly receptive, or have a certain understanding and cognition of the culture of the source language, the translator can use the foreignization strategy to show the style of the source text, so that the readers can better understand the foreign culture and broaden their horizon (Zhang &amp;amp; Wang 2007, 147).&lt;br /&gt;
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Generally speaking, most works have a specific audience for reading. Different groups of readers have their own characteristics and different levels of comprehension; therefore, translators should take the factor of readers into consideration to choose domestication strategy or foreignization strategy in the actual translation. &lt;br /&gt;
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===Chapter 3 The application of translation methods in domestication and foreignization===&lt;br /&gt;
In cross-cultural translation, translating culturally-loaded expressions is difficult. Choosing appropriate ways to translate culturally-loaded expressions will not only keep the original favor, but also make readers of target language understand so in this part I will introduce some methods to translate culturally-loaded expressions under the domestication and foreignization strategy.&lt;br /&gt;
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====3.1 Introduction of culturally-loaded expressions====&lt;br /&gt;
Culturally-loaded words refer to words with certain cultural background or profound cultural implication, including proverbs, allusions, special characters’ names and current idioms and idioms that have been deposited in a certain historical stage (Fang 2011, 297). &lt;br /&gt;
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As culturally-loaded words have their own uniqueness, the following principles should be followed in the translation of culture-loaded words. According to Wang Zhenqi, first, the key implied meaning of the expression in the source text should be converted into non-implied meaning in translation. Second, the representation of the lexical meaning of the source language should be given priority to the representation of the form. Third, the context of the source words should be taken into full consideration in the choice of translation (Wang 2014, 97). &lt;br /&gt;
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Then, in the translation of such words, the translator takes cultural exchange as the purpose, evaluates the readers’ cultural reception and perceptivity, and adopts flexible and appropriate translation methods, so as to ensure that the translated text not only retains the cultural information and cultural color of the original text, but also has readability. There are different ways of translating culturally-loaded words because of their different forms and cultural meanings.&lt;br /&gt;
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====3.2 Translation methods under the domestication strategy====&lt;br /&gt;
Under the domestication translation strategy, there are three main methods to translate culturally-loaded expressions, namely: free translation, cultural substitution, and simplification.&lt;br /&gt;
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Free translation is a common way in translating culturally-loaded words. Free translation is to translate the cultural information in the source text as much as possible. If the translator only conveys literal meanings of the words that are rich in cultural information, sometimes they will confuse and even misunderstand readers. In order to better convey the meaning of the original text, the translator adopts free translation method to translate the real connotation of culturally-loaded words, fill the gap in the readers’ culture, and let readers understand the text more naturally and smoothly (Wang 2014, 98). &lt;br /&gt;
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For example, some color words in Chinese have lots of different symbolic meanings. The color purple in Chinese culture represents the spirit of saints and emperors, which is maybe unfamiliar to readers of other cultures. Hence, when translating the term “紫禁城”，in order to eliminate misunderstanding, the translator tends to adopt free translation to translate it as “the forbidden city”. When translating “紫气” in the phrase “紫气东来”, the translator translate it as “propitious omen”, which shows its cultural meaning (Wang 2014, 98). &lt;br /&gt;
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In cross-cultural translation, the translator may face such difficulty that there is no corresponding word in the target language equaling to the culturally-loaded word in source language. In this case, cultural substitution is a good choice. Cultural substitution, put forward by Beekman and Callow, is a method of dealing with things that exist in the source language but do not exist in the target language. It is defined as using things in target language to replace the things in source language culture that is unknown to readers of target language. In order to maintain the functional meanings, both things have the same function. There are three points to note. Firstly, do not replace history with didactic words; secondly, choose the one that suits best and not just the one with the most obvious function; thirdly, avoid functional conflicts between source language and target language (Fang 2011,104).&lt;br /&gt;
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For example, in order to let readers of target language better feel and understand the love of Romeo and Juliet, we will use cultural substitution methods and translate it into the love between Liang Shanbo and Zhu Yingtai, which eliminates the unfamiliarity of the cultural image in source language and is the representation of domestication. Using the cultural images in the target culture, the translator enables the target readers to understand the foreign culture on the basis of their own culture, thus strengthening the understanding between different cultures.&lt;br /&gt;
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Simplication is also a good way to deal with culturally-loaded expressions translation. According to Wang, simplified translation is to translate the core meaning of culture-loaded words in the source language into a simple and clear target language. In cross-cultural translation, the translator may encounter such a situation when the long-winded concept of the original text can be simply expressed in the target language, such as using idiom, and such a translation is more acceptable to the target language readers. Therefore, it is very effective to use simplified translation which not only preserves the core concept of the original text, but also makes the translation acceptable (Wang 2014, 98).&lt;br /&gt;
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Free translation, cultural substitution and simplication are all translation methods to eliminate the strangeness caused by culturally-loaded words in the source language text and avoid readers’ confusion or misunderstanding. These domesticated text translation methods facilitate readers’ reading, better ensure that readers correctly understand the content of the source language text and experience the emotion of the source language text. &lt;br /&gt;
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====3.3 Translation methods under the foreignization strategy====&lt;br /&gt;
Under the foreignization translation strategy, there are five main methods to translate culturally-loaded words, namely: literal translation, literal translation plus annotation, transliteration, transliteration plus annotation, and cultural borrowing.&lt;br /&gt;
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Literal translation is loyal to the meaning and structure of the source text, directly translating the source language into the target language. With the increasingly frequent cultural exchanges, some loaded words and expressions have gradually become familiar to people (Fang 2011, 104). &lt;br /&gt;
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For example, the proverb “All roads lead to Rome” is directly translated as “条条大路通罗马” . “A near friend is better than a far-dwelling kinsman” is translated as “远亲不如近邻”. These culturally-loaded expressions are directly translated into the target language and Chinese readers can clearly understand the meanings (Fang 2011, 104).&lt;br /&gt;
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However, when literal translation can’t fully convey the original cultural information and readers have difficulty perceiving the meaning, the translator can add some annotation to explain the meaning of the culturally-loaded words on the basis of the literal translation. Annotations can be used to supplement background information, cultural traditions and other information for readers to understand (Wang 2014, 98). &lt;br /&gt;
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For example, the translator translates “工人文化宫” as “the Worker’s Cultural Palace Park” and add annotation in the sentence “Some went to the Worker’s Cultural Palace Park, a recreation center built for the proletariat during the heyday of communism”. By adding the supplementary information, readers will know the meaning of this sentence clearly. Hence, for one thing, the translation preserves the original culture and promotes the communication between different cultures as well; for another, the readers of target language can better understand the cultural connotation and broaden their knowledge (Fang 2011, 104).&lt;br /&gt;
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Transliteration is a good and common way to translate culturally-loaded expressions. It uses letter symbols to represent letter symbols in another language system. When there is a big difference between the source language and the target language and there is a semantic gap, it is impossible to translate the semantic meaning. In this case, transliteration is the main translation method. The objects of transliteration are the names of people, places and newly generated terms (Fang 2011, 105). &lt;br /&gt;
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For instance, a city of America “Mount Pleasant” is translated as “芒特普莱森特” in Chinese. The Chinese Taoist thought “阴”and “阳” are translated as “Yin” and “Yang.” Through transliteration, readers of the target language can not only gain some understanding of the cultural knowledge of the source language, but also introduce new cultural concepts into the culture of the target language (Wang 2014, 97 ).&lt;br /&gt;
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Transliteration plus annotation is also often used in the translation of specific cultural words. The translator can add some annotation that can be in-text annotation or extra-text annotation to explain the meaning of the culturally-loaded words on the basis of the transliteration, so as to achieve the purpose of cultural information transmission (Fang 2011, 105). &lt;br /&gt;
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For example, the sentence “诸如此类，其实只是一种社交上的客套，和‘顿首’‘百拜’同是仪式的虚伪” is translated as “All these are, in fact, nothing but civilities of social life, as hypocritical as the polite formula dunshou (Kowtow) or Baibai (a hundred greetings) used after the signature in old-fashioned Chinese lettering writing” by Zhang Peiji. The annotation gives a clear explanation of the connotation of culturally-loaded words (Fang 2011, 105). &lt;br /&gt;
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Cultural borrowing refers to some words in the source language, which can only be transferred into the target language word by word according to the literal meaning because no appropriate corresponding language can be found in the target language. The borrowed words may be unchanged or slightly altered, but their meaning must be clear and unmistakable in the target language text (Fang 2011, 304). &lt;br /&gt;
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For example, “as timid as a rabbit” can be translated as “胆小如兔”in Chinese. By cultural borrowing, this translation preserves the emotional image and cultural connotation of source language and the readers of target language can figure out the meaning of this expression. Therefore, when using cultural borrowing, the translator should not only keep the cultural image in source text but also let the reader of target language understand the image with exotic connotation.&lt;br /&gt;
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On the basis of preserving the culture and keeping the flavor of the original text, these five translation methods try their best to make readers understand the culture of the source language so as to let readers perceive the beauty of foreign culture and to introduce new expressions into target language.&lt;br /&gt;
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===Conclusion=== &lt;br /&gt;
Translation is an activity of communication between different languages and cultures. Different nations and countries have different ways of language expression because of their different cultures. In cross-cultural translation, translators should not only take on the responsibility of transmitting the source language culture and promoting the communication between different cultures, but also take the responsibility of making the target readers understand the connotation of the text, so as to make the translation readable and acceptable. This requires the translator to master the two translation strategies of domestication and foreignization, and grasp the balance between them.&lt;br /&gt;
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Domestication is helpful for the target language readers to understand the original text and avoid the obstacles caused by cultural differences; however, the translation approach to the readers’ language and culture will inevitably lose language features and cultural customs of the original text. &lt;br /&gt;
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Foreignization translation retains the expression habits and cultural characteristics of the source language, but is easy to increase the understanding difficulty of the target language readers, and may even cause misreading of the target language readers. With the frequent cultural exchanges, to some degree, people around the world are relatively familiar with each other’s cultural customs; therefore, on the premise that the target readers have no misunderstanding of the original text, the foreignization translation strategy can be appropriately adopted, which can enrich the target language culture and broaden the horizon of the target readers. &lt;br /&gt;
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Hence, in cross-cultural translation, translators had to deal with the problems of domestication and foreignization. Translators should consider some factors that influence the choice and choose appropriate translation methods to make domestication and foreignization complement each other, and retain the original flavor of the original text while ensuring the understanding of the target readers.&lt;br /&gt;
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===References===&lt;br /&gt;
*Fang Mengzhi方梦之.(2011)中国译学大辞典[A Dictionary of Translation Studies in China]. 上海外语教育出版社Shanghai Foreign Language Education Press.&lt;br /&gt;
*Jiang Tong蒋童.(2016).韦努蒂翻译理论的谱系学研究[Genealogical study on Lawrence Venuti’s translation theory].商务印书馆The Commercial Press.&lt;br /&gt;
*Lu Xiaojun 陆晓君. (2018) 归化和异化与直译和意译的比较[A Comparison between domestication and foreignization and literal translation and free translation]. 齐齐哈尔师范高等专科学校学报[Journal of Qiqihar Junior Teachers’ College](05) 55-57.&lt;br /&gt;
*He Limin何丽敏.(2019). 浅析翻译中归化和异化策略的选择 [An analysis of the choice of domestication and foreignization in Translation].辽宁经济 Liaoning Economy (10):70-71.&lt;br /&gt;
*Newmark, P. (2011) A Textbook of Translation. Shanghai Foreign Language Education Press.&lt;br /&gt;
*Nida, E.A. &amp;amp; Taber C.R. (2004) The Theory and Practice of Translation. Shanghai Foreign Language Education Press.&lt;br /&gt;
*Shuttleworth, M. &amp;amp; Moira, C. (2005) Dictionary of Translation Studies.谭载喜译Translated by Tan Zaixi. Foreign Language Teaching and Research Press.&lt;br /&gt;
*Venuti, L. (2009) The Translator’s Invisibility. 张景华译Translated by Zhang Jinghua. 外语教育与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
*Wang Chan王婵.(2008). 纽马克翻译理论在不同文本类型中的体现[The Embodiment of Newmark’s translation in different text types].湖北师范学院学报（哲学社会科学版）Journal of Hubei Normal University(Philosophy and Social Science) (02) 138-140.&lt;br /&gt;
*Wang Zhenqi王溱琪.(2014).文化负载词翻译方法浅议[A brief discussion on culturally-loaded word translation method ].长江大学学报(社科版)Journal of Yangtze University (Social Science) (01) 97-98.&lt;br /&gt;
*Zhang Siyong &amp;amp;Wang Huimin张思永,王慧敏. (2007). 归化还是异化——谈影响翻译策略选择的若干因素 [Domestication or foreignization-an analysis of factors influencing the choice of translation strategy].广西社会科学 Guangxi Social Science (10):145-148.&lt;br /&gt;
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==The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu 龚钰冕 Gong Yumian==&lt;br /&gt;
&amp;lt;center&amp;gt; 龚钰冕 Gong Yumian,202020080601.&amp;lt;/center&amp;gt;                                              &lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''=== &lt;br /&gt;
Chinese Xiehouyu is a unique part of Chinese folk culture, and people are familiar with it. The translation of Chinese Xiehouyu is a kind of cross-cultural communication activity that spreads the Chinese national language and culture to the English world. In depth study of the connotation and translation methods of Chinese Xiehouyu has played a significant role in promoting and improving the Chinese-English translation and cross-cultural communication between Chinese and English. Based on the theory of domestication and foreignization, this paper attempts to analyze the types and components of Chinese Xiehouyu, and to explore their translation strategies.&lt;br /&gt;
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===Abstract===--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:48, 18 December 2020 (UTC) &lt;br /&gt;
Chinese Xiehouyu is a unique part of Chinese folk culture, and people are familiar with it. The translation of Chinese Xiehouyu is a kind of cross-cultural communication, which spreads the Chinese national language and culture to the English world. The depth study of the connotation and translation strageties of Chinese Xiehouyu has played a significant role in promoting and improving the Chinese-English translation and cross-cultural communication between Chinese and English. Based on the theory of domestication and foreignization, this chapter attempts to analyze the types and components of Chinese Xiehouyu, and to explore their translation strategies. --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:23, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
汉语歇后语是中国民俗文化特有的一部分，人们耳熟能详。汉英歇后语翻译是一种将中华民族语言文化传播到英语世界的跨文化交流活动，深入学习研究汉语歇后语的内涵和翻译方法，对汉英语言的互译和跨文化交际都起到了很好的促进和提高作用。本文试图用归化和异化理论出发，分析汉语歇后语的类型及其构成，探讨汉语歇后语的翻译策略。&lt;br /&gt;
&lt;br /&gt;
===摘要===--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:48, 18 December 2020 (UTC)&lt;br /&gt;
汉语歇后语是中国民俗文化特有的一部分，为人们所耳熟能详。汉英歇后语翻译是一种将中华民族语言文化传播到英语世界的跨文化交流。深入学习和研究汉语歇后语的内涵和翻译方法，对汉英语言的互译和跨文化交际都起到了很好的促进和提高作用。本文试图用归化和异化理论出发，分析汉语歇后语的类型及其构成，探讨汉语歇后语的翻译策略。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:30, 18 December 2020 (UTC)&lt;br /&gt;
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==='''Key words'''=== &lt;br /&gt;
Chinese Xiehouyu, domestication and foreignization, translation strategy&lt;br /&gt;
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===Key words===--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:48, 18 December 2020 (UTC) &lt;br /&gt;
Chinese Xiehouyu; domestication and foreignization; translation strategy --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:34, 18 December 2020 (UTC)&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
汉语歇后语；归化和异化；翻译策略&lt;br /&gt;
&lt;br /&gt;
===关键词===--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:48, 18 December 2020 (UTC)&lt;br /&gt;
汉语歇后语；归化和异化；翻译策略 --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:35, 18 December 2020 (UTC)&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
Chinese Xiehouyu is a unique language form in Chinese idioms, which is full of cultural connotation and has a special structural form. It has the characteristics of vivid and humorous language, rich in philosophy and enlightenment, which is widely spread and loved by the Chinese people. Chinese Xiehouyu is not only widely used in spoken language of all social strata, but also can be seen everywhere in classical and modern literary works and articles.  However, as a unique language form in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese idioms, which is undoubtedly a great challenge to the translator. &lt;br /&gt;
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The strategies of domestication and foreignization play an important role in translation. Besides, the correct application of domestication and foreignization in translating Chinese Xiehouyu will appropriately and vividly introduce China's history and culture to foreign people to promote cultural exchanges. Therefore, this paper attempts to analyze the types and components of Chinese Xiehouyu, analyze the connotations of domestication and foreignization, and explore the translation methods of Chinese Xiehouyu with many examples.&lt;br /&gt;
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===Introduction===--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:46, 18 December 2020 (UTC)&lt;br /&gt;
Chinese Xiehouyu is a unique language form in Chinese idioms, which is full of cultural connotations and has a special structural form. It is a kind of vivid and humorous language, rich in philosophy and enlightenment, which is widely spreaded and loved by the Chinese people. Chinese Xiehouyu is not only widely used in spoken language of all social strata, but also can be seen everywhere in classical and modern literary works and articles. However, as a unique language form in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese idioms, which is undoubtedly a great challenge to translators. --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:46, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The strategies of domestication and foreignization play an important role in translation. Besides, the correct application of domestication and foreignization in translating Chinese Xiehouyu will appropriately and vividly introduce China's history and culture to foreign people to promote cultural exchanges. Therefore, this chapter attempts to analyze the types and components of Chinese Xiehouyu, analyze the connotations of domestication and foreignization, and explore the translation strageties of Chinese Xiehouyu with examples.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 02:46, 18 December 2020 (UTC)&lt;br /&gt;
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===Chapter 1 The Definition of Chinese Xiehouyu===&lt;br /&gt;
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====1.1 The Origin of Chinese Xiehouyu====&lt;br /&gt;
====1.1. The Origin of Chinese Xiehouyu====--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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Chinese Xiehouyu is also called allegorical saying, witticism, abbreviation, quotation and so on. When it comes to Xiehouyu, Chinese people are familiar with it, because it is a form of expression that Chinese people have learned since childhood. When studying the origin of Chinese Xiehouyu, some linguists and linguistic works also mentioned other related names. For example, Chen Wangdao (1932) included Xiehouyu in the section of &amp;quot;Cutting and Shortening Words&amp;quot; in his ''The Main Ideas of The Rhetoric''.&lt;br /&gt;
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Chinese Xiehouyu is also called allegorical saying, witticism, abbreviation, quotation and so on. When it comes to Xiehouyu, Chinese are familiar with it, for it is a form of expression that Chinese have learned since childhood. When studying the origin of Chinese Xiehouyu, some linguists and linguistic works also mentioned other related names. For example, Chen Wangdao (1932) included Xiehouyu in the section of &amp;quot;Cutting and Shortening Words&amp;quot; in his ''The Main Ideas of The Rhetoric''.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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Guo Shaoyu (1925) pointed out that Xiehouyu originated from &amp;quot;shefu&amp;quot; (a form similar to guessing riddles) in his book ''A Study of Proverbs''; and names such as &amp;quot;riddle&amp;quot;, &amp;quot;proverb&amp;quot;, &amp;quot;abbreviation&amp;quot;, &amp;quot;idiom&amp;quot;, &amp;quot;witticism&amp;quot; were listed in other books. By comparison, most of them reveal some similarities and differences. Let's briefly review the origin of the name &amp;quot;Xiehouyu&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Guo Shaoyu (1925) pointed out that Xiehouyu originated from &amp;quot;shefu&amp;quot; (a form similar to guessing riddles) in his book ''A Study of Proverbs''; and names such as &amp;quot;riddle&amp;quot;, &amp;quot;proverb&amp;quot;, &amp;quot;abbreviation&amp;quot;, &amp;quot;idiom&amp;quot;, &amp;quot;witticism&amp;quot; were listed in other books. By comparison, most of them reveal some similarities and differences. Let's briefly review the origin of the term &amp;quot;Xiehouyu&amp;quot;. --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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The name &amp;quot;xiehou&amp;quot; was first found in the biography of Zheng fan in Tang Dynasty, and it is mentioned in the book that &amp;quot;the style of Zheng Wu Xiehou&amp;quot; (a kind of poem with the style of &amp;quot;xiehou&amp;quot;). The word &amp;quot;Xiehouyu&amp;quot; has appeared for a long time, but what the ancients said refers to the ppoetry or a word game about Xiehouyu. The Xiehouyu, which we are talking about today, was called &amp;quot;Qiaoyu&amp;quot;, &amp;quot;Fangyu&amp;quot; and &amp;quot;Shiyu&amp;quot; by the ancients and were more commonly known as &amp;quot;Yaoyan&amp;quot;. （Miregu Aimaiti, 2014, 5）&lt;br /&gt;
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The word &amp;quot;xiehou&amp;quot; was first found in the biography of Zheng fan in Tang Dynasty, and it is mentioned in the book that &amp;quot;the style of Zheng Wu Xiehou&amp;quot; (a kind of poem with the style of &amp;quot;xiehou&amp;quot;). The word &amp;quot;Xiehouyu&amp;quot; has appeared for a long time, but what the ancients said just refers to the poetry or a word game. Xiehouyu, which we are talking about today, was called &amp;quot;Qiaoyu&amp;quot;, &amp;quot;Fangyu&amp;quot; and &amp;quot;Shiyu&amp;quot; by the ancients and were more commonly known as &amp;quot;Yaoyan&amp;quot;. （Miregu Aimaiti, 2014, 5）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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At the beginning of the 20th century, Bai Qiming took Xiehouyu as a kind of folk literature and art after the publication of his article &amp;quot;''Xiehouyu Which Should Be Included in The Collection of Songs'' &amp;quot;. He pointed out that Xiehouyu, also known as &amp;quot;argot&amp;quot;, was called &amp;quot; wind typeface &amp;quot; in Tang Dynasty and &amp;quot;Kaner&amp;quot; or &amp;quot;Kanzi&amp;quot; in custom. However, he did not explain why he called it &amp;quot;Xiehouyu&amp;quot; in his article.&lt;br /&gt;
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At the beginning of the 20th century, Bai Qiming took Xiehouyu as a kind of folk literature and art after the publication of his article ''Xiehouyu Which Should Be Included in The Collection of Songs''. He pointed out that Xiehouyu, also known as &amp;quot;argot&amp;quot;, was called &amp;quot; wind typeface &amp;quot; in Tang Dynasty and &amp;quot;Kaner&amp;quot; or &amp;quot;Kanzi&amp;quot; in custom. However, he did not explain why he called it &amp;quot;Xiehouyu&amp;quot; in his article.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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In the 1930s, Chen Wangdao pointed out in his book &amp;quot; ''The Main Ideas of The Rhetoric''&amp;quot; that Xiehouyu has two meanings: one is &amp;quot;Xiehouyu&amp;quot; used by the ancients, also known as &amp;quot;cutting and shortening words of Xiehouyu&amp;quot;; the other is &amp;quot;Xiehouyu&amp;quot; that people use today, also referred as “Pijieyu”, that is, the Xiehouyu composed of interpretation.&lt;br /&gt;
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In the 1930s, Chen Wangdao pointed out in his book  ''The Main Ideas of The Rhetoric'' that Xiehouyu has two meanings: one is &amp;quot;Xiehouyu&amp;quot; used by the ancients, also known as &amp;quot;cutting and shortening words&amp;quot;; the other is &amp;quot;Xiehouyu&amp;quot; that people use today, also referred as “Pijieyu”, that is, Xiehouyu composed of interpretation.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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In the 1950s, Mao Dun pointed out that in order to distinguish it from the &amp;quot;original or formal xiehouyu&amp;quot;, a different name should be given to the Xiehouyu that people use today, but he did not specify what name to use instead. In the 1980s, from the perspective of academic research, Wen Duanzheng thought that the academic name should reflect the essential characteristics of the things referred to, agreed with Mao Dun's opinion, and concluded that Xiehouyu did not express the meaning of &amp;quot;xiehou&amp;quot; in Chinese through a large number of examples. Therefore, he suggested that the Xiehouyu should be renamed as &amp;quot;quotations&amp;quot; according to the relationship between the former and latter parts of the Xiehouyu. &lt;br /&gt;
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In the 1950s, Mao Dun pointed out that in order to distinguish it from the &amp;quot;original or formal xiehouyu&amp;quot;, a different name should be given to Xiehouyu that people use today, but he did not specify what name to use instead. In the 1980s, from the perspective of academic research, Wen Duanzheng thought that the academic name should reflect the essential characteristics of the things it referred to. He agreed with Mao Dun's opinion, and concluded that Xiehouyu did not express the meaning of &amp;quot;xiehou&amp;quot; in Chinese through a large number of examples. Therefore, he suggested that Xiehouyu should be renamed as &amp;quot;quotations&amp;quot; according to the relationship between the former and latter parts of the Xiehouyu.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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However, most scholars believe that the name of Xiehouyu has been accepted by people and it is difficult to change it. Therefore, they advocate that the name &amp;quot;Xiehouyu&amp;quot; should still be used without any change. （Miregu Aimaiti, 2014, 6）&lt;br /&gt;
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However, most scholars believe that the name &amp;quot;Xiehouyu&amp;quot; has been accepted by people and it is difficult to change it. Therefore, they advocate that the name &amp;quot;Xiehouyu&amp;quot; should still be used without any change. （Miregu Aimaiti, 2014, 6）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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====1.2 The Structure of Chinese Xiehouyu====&lt;br /&gt;
Chinese Xiehouyu can be literally translated into &amp;quot;rest ending sayings&amp;quot; or &amp;quot;post-pause expressions&amp;quot;. According to its structure, it is also translated as &amp;quot;example-explanation-sayings&amp;quot;. In 1986, Professor Luo Shenghao, a linguistic professor at the University of Illinois at Chicago, translated the Chinese Xiehouyu into &amp;quot;enigmatic folk similes&amp;quot; in his book ''A Dictionary of Chinese Xiehouyu''. &lt;br /&gt;
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Chinese Xiehouyu can be literally translated into &amp;quot;rest ending sayings&amp;quot; or &amp;quot;post-pause expressions&amp;quot;. According to its structure, it is also translated as &amp;quot;example-explanation-sayings&amp;quot;. In 1986, Professor Luo Shenghao, a linguistic professor at the University of Illinois at Chicago, translated Chinese Xiehouyu into &amp;quot;enigmatic folk similes&amp;quot; in his book ''A Dictionary of Chinese Xiehouyu''. --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:59, 18 December 2020 (UTC)&lt;br /&gt;
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According to professor Luo, &amp;quot;Similes&amp;quot; refers to the Chinese Xiehouyu which is generally composed of vehicle and tenor. The vehicle are figurative metaphors. The tenor is the explanation of the vehicle to show its essential significance. For example, “粪坑里的石头——又臭又硬” (The stone in the cesspit —— smelly and hard.). &amp;quot;Folk&amp;quot; indicates that the Xiehouyu is originated from the folk and is used more frequently in daily spoken language. &amp;quot;Enigmatic&amp;quot; indicates that this kind of expression has the nature and characteristics of riddles which also have two parts: the tenor and the vehicle. Therefore, &amp;quot;enigmatic Folk Similes&amp;quot; basically reflects the special structure and essential characteristics of Chinese Xiehouyu. (Qi Dehui, 2011, 110) &lt;br /&gt;
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According to professor Luo, &amp;quot;Similes&amp;quot; refers to Chinese Xiehouyu which is generally composed of vehicle and tenor. The vehicle is figurative metaphors. The tenor is the explanation of the vehicle to show its essential significance. For example, “粪坑里的石头——又臭又硬” (The stone in the cesspit —— smelly and hard.). &amp;quot;Folk&amp;quot; indicates that Xiehouyu originates from the folk and is used more frequently in daily spoken language. &amp;quot;Enigmatic&amp;quot; indicates that this kind of expression has the nature and characteristics of riddles which also have two parts: the tenor and the vehicle. Therefore, &amp;quot;enigmatic Folk Similes&amp;quot; basically reflects the special structure and essential characteristics of Chinese Xiehouyu. (Qi Dehui, 2011, 110) --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:59, 18 December 2020 (UTC)&lt;br /&gt;
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====1.3 The Definition of Chinese Xiehouyu====&lt;br /&gt;
Xiehouyu has very distinct characteristics, and its external structure is composed of two parts. The former part is the image and descriptive language, which tells a thing, a modality, an object, a scene and so on, while the latter part is a summary and abstract language, which is the explanation of the former part. The combination of the former part and the latter part produces a sense of witty and humor to express meaning. Therefore, the fixed phrase is called Xiehouyu. (Bao Huinan &amp;amp; Bao Ang, 2000, 64)&lt;br /&gt;
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Xiehouyu has very distinct characteristics, and its external structure is composed of two parts. The former part is the image and descriptive language, which says a thing, a modality, an object, a scene and so on, while the latter part is a summary and abstract language, which is the explanation of the former part. The combination of the former part and the latter part produces a sense of wit and humor to express meaning. Therefore, the fixed phrase is called Xiehouyu. (Bao Huinan &amp;amp; Bao Ang 2000, 64)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 04:43, 18 December 2020 (UTC)&lt;br /&gt;
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In the dictionary, the explanation of Xiehouyu is that a sentence composed of two parts: the former part is like the riddle, the latter part is like the answer of riddle, and the original meaning is from the latter part. For example, “泥菩萨过江——自身难保”(like a clay idol fording a river, hardly able to save oneself(let alone anyone else)). Therefore, Xiehouyu is a kind of idiom with relatively fixed structure and oral characteristics, which is composed of two parts with the relationship of citation and annotation. （Miregu Aimaiti, 2014, 5）&lt;br /&gt;
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In the dictionary, the explanation of Xiehouyu is that a sentence composed of two parts: the former part is like the riddle, the latter part is like the answer of the riddle, and the original meaning is from the latter part. For example, “泥菩萨过江——自身难保”( a clay idol fording a river, hardly able to save oneself (let alone anyone else)). Therefore, Xiehouyu is a kind of idiom with relatively fixed structure and oral characteristics, which is composed of two parts with the relationship of citation and annotation. （Miregu Aimaiti 2014, 5）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 04:43, 18 December 2020 (UTC)&lt;br /&gt;
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''An Unabridged, Comprehensive Dictionary''defines Xiehouyu as follows: Xiehouyu is a kind of idiom, which is humorous and vivid sentences that are familiar to the masses. When used, it can omit the latter part, and the former part can show the meaning, such as &amp;quot;丢了西瓜捡芝麻&amp;quot; (lose the watermelon and pick up the sesame) can mean &amp;quot;因小失大&amp;quot; (keep the tail from wagging the dog); the former and latter part can also be juxtaposed, such as &amp;quot;芝麻开花—节节高&amp;quot; (A sesame stalk puts forth blossoms notch by notch, higher and higher – rising steadily). (Liu Na, 2016, 18)&lt;br /&gt;
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''An Unabridged, Comprehensive Dictionary'' defines Xiehouyu as follows: Xiehouyu is a kind of idiom, which is humorous and vivid sentence that are familiar to the masses. When used, the latter part can be omitted, and the former part can show the meaning, such as &amp;quot;丢了西瓜捡芝麻&amp;quot; (lose the watermelon and pick up the sesame) can mean &amp;quot;因小失大&amp;quot; (keep the tail from wagging the dog); the former and latter part can also be juxtaposed, such as &amp;quot;芝麻开花—节节高&amp;quot; (A sesame stalk puts forth blossoms notch by notch, higher and higher – rising steadily). (Liu Na 2016, 18)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 04:43, 18 December 2020 (UTC)&lt;br /&gt;
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The definition points out the nature and components of Xiehouyu. In the branches of linguistics, Xiehouyu belongs to the National Cultural Connotation (NCC), which is composed of the former part and the latter part. The former part often explains and describes a kind of life phenomenon, and the latter part makes comments and analysis on this phenomenon. （Miregu Aimaiti, 2014, 6）&lt;br /&gt;
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The definition points out the nature and components of Xiehouyu. In the branches of linguistics, Xiehouyu belongs to the National Cultural Connotation (NCC), which is composed of the former part and the latter part. The former part often explains and describes a kind of life phenomenon, and the latter part makes comments and analysis of this phenomenon. （Miregu Aimaiti 2014, 6）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 04:43, 18 December 2020 (UTC)&lt;br /&gt;
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In the section of language and characters in the ''Chinese Encyclopedia'', Xiehouyu refers to the humorous utterance formed by deliberately missing one word or half sentence of a commonly used word when speaking. There are usually two kind of Xiehouyu. The first one is the original meaning of Xiehouyu, referred to the omission of the last word of an idiom, which is also called &amp;quot;abbreviation&amp;quot;. （Miregu Aimaiti, 2014, 6）&lt;br /&gt;
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In the section of language and characters in the ''Chinese Encyclopedia'', Xiehouyu refers to the humorous utterance formed by deliberately missing one word or half sentence of a commonly used word when speaking. There are usually two kinds of Xiehouyu. The first one is the original meaning of Xiehouyu, referred to the omission of the last word of an idiom, which is also called &amp;quot;abbreviation&amp;quot;. （Miregu Aimaiti 2014, 6）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 04:43, 18 December 2020 (UTC)&lt;br /&gt;
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The second one is allegorical sayings that are expanded its meaning. The two-part allegorical sayings in Beijing are called witticism, which means that the last half of a sentence can be omitted. For example, &amp;quot;竹篮打水（Ladling water with a wicker backet）&amp;quot; omits the latter part &amp;quot;一场空（all is empty）&amp;quot;. Sometimes homonyms are used. Such as &amp;quot;外甥打灯笼一一照旧（舅）(Things seemed to be the same as before)&amp;quot;. In this sentence, “旧” and “舅” are homophones in China. (Yang Peigen &amp;amp; Li Yanlin，2006，93)&lt;br /&gt;
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The second one is allegorical sayings that have expanded its meaning. The two-part allegorical sayings in Beijing are called witticism, which means that the last half of a sentence can be omitted. For example, &amp;quot;竹篮打水 (Ladling water with a wicker basket)&amp;quot; omits the latter part &amp;quot;一场空 (all is empty)&amp;quot;. Sometimes homonyms are used. Such as &amp;quot;外甥打灯笼一一照旧 (舅) (Things seemed to be the same as before)&amp;quot;. In this sentence, “旧” and “舅” are homophones in China. (Yang Peigen &amp;amp; Li Yanlin 2006，93)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 04:43, 18 December 2020 (UTC)&lt;br /&gt;
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In short, Xiehouyu is a special language form created by the Chinese people in their daily life. It is a short, funny and vivid sentence and composed of two parts: the former part plays the role of introduction, like a riddle, and the latter part plays the role of supplement, like the answer of riddle, which is very natural and appropriate. In a certain language environment, one usually says the former part and omit the latter part, the other can understand and guess its original meaning, so this language form is called Xiehouyu.（Miregu Aimaiti, 2014, 7）&lt;br /&gt;
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In short, Xiehouyu is a special language form created by the Chinese people in their daily life. It is a short, funny and vivid sentence and composed of two parts: the former part plays the role of introduction, like a riddle, and the latter part plays the role of supplement, like the answer of the riddle, which is very natural and appropriate. In a certain language environment, one usually says the former part and omit the latter part, the other can understand and guess its original meaning, so this language form is called Xiehouyu.（Miregu Aimaiti 2014, 7）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 04:43, 18 December 2020 (UTC)&lt;br /&gt;
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====1.4 The Importance of Chinese Xiehouyu Translation====&lt;br /&gt;
Xiehouyu is a kind of Chinese idioms, which reflects people's daily life and experience, and is a concise summary and warning of people's experience in life. It has rich ideological connotation and unique cultural characteristics. However, from the perspective of translation, as a unique language phenomenon in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese Xiehouyu, which is undoubtedly a great challenge to the translator. (Xu Yanan &amp;amp; Zeng Xianmo, 2020, 249)&lt;br /&gt;
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Xiehouyu is a kind of Chinese idioms, which reflects people's daily life and experience, and is a concise summary and warning of people's experience of life. It has the rich ideological connotation and unique cultural characteristics. However, from the perspective of translation, as a unique language phenomenon in China, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese Xiehouyu, which is undoubtedly a great challenge to the translator. (Xu Yanan &amp;amp; Zeng Xianmo, 2020, 249)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:36, 18 December 2020 (UTC)&lt;br /&gt;
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There are similar forms of Chinese Xiehouyu in English, but so far, there is no official definition corresponding to Chinese Xiehouyu. How to reproduce the language style of Xiehouyu and convey its rich cultural connotation is a subject worthy of discussion and research. At the same time, the translation of Xiehouyu helps the world to understand China and Chinese culture, which is conducive to the wide spread of Chinese culture. (Xu Yanan &amp;amp; Zeng Xianmo, 2020, 249)&lt;br /&gt;
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There are similar forms of Chinese Xiehouyu in English, but so far, there is no official definition corresponding to Chinese Xiehouyu. How to reproduce the language style of Xiehouyu and convey its rich cultural connotation is a subject worthy of discussion and research. At the same time, the translation of Xiehouyu helps the world to understand China and Chinese culture, which is conducive to the wide spread of Chinese culture. (Xu Yanan &amp;amp; Zeng Xianmo 2020, 249)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:36, 18 December 2020 (UTC)&lt;br /&gt;
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From the perspective of linguistics, the most differences are that Chinese is a parataxis language while English hypotaxis. Chinese belongs to the Chinese-Tibet language, while English belongs to the Indo-European language; Chinese is a parataxis language while English hypotaxis. In English, the arranging of clauses one after the other without connectives showing the relation between them, for example, the rain fell; the river flooded; the house washed away. In Chinese, the dependent or subordinate construction or relationship of clauses with connectives, for example, I shall despair if you don’t come. (Lian Shuneng, 1993，48-49)&lt;br /&gt;
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From the perspective of linguistics, the most difference is that Chinese is a paradoxis language while English hypotaxis. Chinese belongs to the Chinese-Tibet language, while English belongs to the Indo-European language. In English, the arranging of clauses one after the other without connectives showing the relation between them, for example, the rain fell; the river flooded; the house washed away. In English, the dependent or subordinate construction or relationship of clauses with connectives, for example, I shall despair if you don’t come. (Lian Shuneng 1993，48-49)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:36, 18 December 2020 (UTC)&lt;br /&gt;
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Therefore, interlingual conversion occurs in the process of translation, which it is of great value in translation. In the process of translating Chinese Xiehouyu into English, it is necessary to faithfully reproduce the meaning of the source language by integrating language, cognition, culture, communication and other factors. The form and meaning of Chinese idioms are not completely coincident, which is fully reflected in the literal meaning and implied meaning of Xiehouyu. For foreigners, being familiar with and understanding Xiehouyu can strengthen their mastery of Chinese and deepen their understanding of Chinese culture and civilization. (Liu Na, 2016, 18)&lt;br /&gt;
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Therefore, interlingual conversion occurs in the process of translation, which it is of great value in translation. In the process of translating Chinese Xiehouyu into English, it is necessary to faithfully reproduce the meaning of the source language by integrating language, cognition, culture, communication and other factors. The form and meaning of Chinese idioms are not completely coincident, which is fully reflected in the literal meaning and implied meaning of Xiehouyu. For foreigners, understanding Xiehouyu can strengthen their mastery of Chinese and deepen their understanding of Chinese culture and civilization. (Liu Na, 2016, 18)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:36, 18 December 2020 (UTC)&lt;br /&gt;
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===Chapter 2 Types of Chinese Xiehouyu===&lt;br /&gt;
According to the connection between the two parts of the Chinese Xiehouyu, it can be roughly divided into two types: metaphorical Xiehouyu and paronomasia Xiehouyu. (Qi Dehui,2011,110)&lt;br /&gt;
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====2.1 Metaphorical Xiehouyu====&lt;br /&gt;
There are numerous metaphorical Xiehouyu. The former part implies a metaphorical meaning and the latter part original meaning. Their internal connections are very clear and logical.&lt;br /&gt;
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There are numerous examples of metaphorical Xiehouyu. The former part implies a metaphorical meaning and the latter part original meaning. Their internal connections are very clear and logical.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:46, 18 December 2020 (UTC)&lt;br /&gt;
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For example, &lt;br /&gt;
（1）那个宝玉是个丈八的灯台——照见人家，照不见自己的，只知嫌人家脏。这是他的房子，由着你们糟蹋。 (As for Baoyu, he is like a ten-foot lamp-stand that sheds light on others but none on it-self. He complains that other people are dirty, yet leaves you to turn his own rooms topsy-turvy.)&lt;br /&gt;
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For example, &lt;br /&gt;
（1）那个宝玉是个丈八的灯台——照见人家，照不见自己的，只知嫌人家脏。这是他的房子，由着你们糟蹋。 (As for Baoyu, he is like a ten-foot lamp-stand that sheds light on others but none on itself. He complains that other people are dirty, yet leaves you to turn his own rooms topsy-turvy.)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:46, 18 December 2020 (UTC)&lt;br /&gt;
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It can be seen that in the first example, the vehicle is literally translated, while the tenor is translated with interpretation, explaining the former part. Literal translation with interpretation not only retains the figurative image of the original language, but also effectively conveys its cultural connotation, which is clear to the target readers.(Qi Dehui,2011,110)&lt;br /&gt;
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It can be seen that in the first example, the vehicle is literally translated, while the tenor is translated with interpretation, explaining the former part. Literal translation with interpretation not only retains the figurative image of the original language, but also effectively conveys its cultural connotation, which is clear to the target readers. (Qi Dehui 2011,110)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:46, 18 December 2020 (UTC)&lt;br /&gt;
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====2.2  Paronomasia Xiehouyu====&lt;br /&gt;
The paronomasia Xiehouyu has a great proportion in Chinese Xiehouyu. The latter part of the paronomasia Xiehouyu is a pun, which has both the surface meaning of the vehicle and other deep meaning. In other words, the literal meaning is to explain the former part, but its deep meaning expresses a completely different meaning from the whole context. (Jin Huikang, 2004, 132)&lt;br /&gt;
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The paronomasia Xiehouyu has a great proportion in Chinese Xiehouyu. The latter part of the paronomasia Xiehouyu is a pun, which has both the surface meaning of the vehicle and other deep meaning. In other words, the literal meaning is to explain the former part, but its deep meaning expresses a completely different meaning from the whole context. (Jin Huikang 2004, 132) --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:58, 18 December 2020 (UTC)&lt;br /&gt;
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For example,&lt;br /&gt;
(2)一根筷子吃藕——挑眼(Eating lily root with only one chopstick——picking it up by the holes.) &lt;br /&gt;
In the second example, “pick holes” means to find one’s faults, while the meaning of its vehicle is to pick the whole in lotus root slices with a chopstick.(Ling Li, 2004, 452)&lt;br /&gt;
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(3) 三九天的萝卜——冻了心（动了心）(A mid-winter turnip（in the third period of nine days  after  the  winter  solstice）—— the heart is frozen（affected in heart）.)&lt;br /&gt;
In the third example, the surface meaning of “the heart is frozen” is that the turnip in a mind winter is completely frozen from the root, and the root is a symbol of heart. Moreover, “冻了心”and“动了心”in Chinese are homophones, which becomes a pun.(Qi Dehui,2011,111)&lt;br /&gt;
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For example,&lt;br /&gt;
(2)一根筷子吃藕——挑眼(Eating lily root with only one chopstick——picking it up by the holes.) &lt;br /&gt;
In the second example, “pick holes” means to find one’s faults, while the meaning of its vehicle is to pick the whole in lotus root slices with a chopstick. (Ling Li, 2004, 452)&lt;br /&gt;
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(3) 三九天的萝卜——冻了心 (动了心) (A midwinter turnip (in the third period of nine days after the winter  solstice) —— the heart is frozen (affected with heart).)&lt;br /&gt;
In the third example, the surface meaning of “the heart is frozen” is that the turnip in a mind winter is completely frozen from the root, and the root is a symbol of the heart. Moreover, “冻了心”and“动了心”in Chinese are homophones, which becomes a pun.(Qi Dehui 2011,111)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:58, 18 December 2020 (UTC)&lt;br /&gt;
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===Chapter 3 Domestication and Foreignization===&lt;br /&gt;
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====3.1 Definition Of Domestication and Foreignization====&lt;br /&gt;
The terms of domestication and foreignization were first put forward by German philosopher Friedrich Daniel Ernst Schleiermacher. He proposed his famous notion of the translation which “leaves the reader in peace, as much as possible, and moves the author towards him” (Venuti, 1995,19-20). Later, this term was introduced into the field of translation by Lawrence Venuti, an American translation theorist. He referred to the first method proposed by Schleiermacher as &amp;quot;domestication&amp;quot;, and the second method as &amp;quot;foreignization&amp;quot;. In a word, domestication is s term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. （Mark Shuttleworth &amp;amp; Moira Cowie, 2004, 43-44）&lt;br /&gt;
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Then, foreignization is a term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Mark Shuttleworth &amp;amp; Moira Cowie, 2004, 59)Eugene A. Nida, the advocate of the theory, put forward in his linguistic theory of functional equivalence that &amp;quot;cultural equivalence can be achieved by excluding linguistic differences.&amp;quot;&lt;br /&gt;
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The terms of domestication and foreignization were first put forward by German philosopher Friedrich Daniel Ernst Schleiermacher. He proposed his famous notion of the translation, which “leaves the reader in peace as much as possible, and moves the author towards him(这个只是归化的概念吧？）” (Venuti, 1995,19-20). Later, this term was introduced into the field of translation by Lawrence Venuti, an American translation theorist. He referred to the first strategy proposed by Schleiermacher as &amp;quot;domesticationg transaltion&amp;quot;, and the second strategy as &amp;quot;foreignizing transaltion&amp;quot;. &lt;br /&gt;
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In a word, domestication is the term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (这个是异化的概念吧，你和下面的异化写成一样的了）(Mark Shuttleworth &amp;amp; Moira Cowie 2004, 43-44) Then, foreignization is a term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Mark Shuttleworth &amp;amp; Moira Cowie, 2004, 59）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:24, 18 December 2020 (UTC)&lt;br /&gt;
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Qian Zhongshu, a famous writer and translator in China, once put forward the theory of &amp;quot;sublimation&amp;quot; in ''The Translation of Linshu'', which means that the translation should not only accord with language expression custom of the target language, but also keep the style of the original work. Substantially, theory of sublimation requires translators to comprehensive the meaning of the original work and to consider the factors of semantic relation, style, cultural differences and information transfer effect etc., and then translators should translate selectively. &lt;br /&gt;
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Qian Zhongshu, a famous writer and translator in China, once put forward the theory of &amp;quot;sublimation&amp;quot; in ''The Translation of Lin Shu'', which means that the translation should not only accord with the language expression custom of the target language, but also keep the style of the original work. Substantially, the theory of sublimation requires translators to comprehend the meaning of the original work and to consider the factors of semantic relation, style, cultural differences and information transfer effect etc., then the translators should translate selectively. --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:24, 18 December 2020 (UTC)&lt;br /&gt;
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On the contrary, &amp;quot;foreignization&amp;quot; requires the translator to approach the author and express the meaning of the original text with the expressions commonly used by people. During the period of the New Culture Movement in China, Lu Xun, the advocator of the theory, once put forward the translation method of &amp;quot;domestication&amp;quot;, which brought a western style to the works. (Liu Xiaocen, 2017, 99)&lt;br /&gt;
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On the contrary, &amp;quot;foreignization&amp;quot; requires the translators to approach the author and express the meaning of the original text with the expressions commonly used by people. During the period of the New Culture Movement in China, Lu Xun, the advocator of the theory, once put forward the translation strategy of &amp;quot;foreignization&amp;quot;, which brought a western style to the works. (Liu Xiaocen 2017, 99)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:24, 18 December 2020 (UTC)&lt;br /&gt;
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In conclusion, domestication is to localize the source language, take the target language or the target language readers as the destination, and adopt the expression methods that the target language readers are used to convey the content of the original text. Domestication requires the translator to approach the target language readers, and the translator must speak like the native author. If the original author wants to have a direct dialogue with the readers, the translated text must become a native language. Domestication translation helps readers understand the translation better and enhance the readability and appreciation of the translation. (Nie Xiaohua, 2002, 3)&lt;br /&gt;
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In conclusion, domestication is to localize the source language, take the target language readers as the destination, and adopt the expression methods that are familiar to the target language readers to convey the content of the original text. Domestication requires the translators to approach the target language readers, and the translators must speak like the author. If the original author wants to have a direct dialogue with the readers, the translated text must become a native language. Domesticating translation helps readers understand the translation better and enhance the readability and appreciation of the translation. (Nie Xiaohua 2002, 3)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:24, 18 December 2020 (UTC)&lt;br /&gt;
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On the contrary, Foreignization means that the translator should try his best not to disturb the author and let the readers approach the author. In translation, it is to accommodate the language characteristics of foreign culture, absorb foreign language expression, and require the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text, that is, to take the target culture as the destination. The purpose of using foreignization strategy is to consider the differences of national culture, preserve and reflect the characteristics of foreign nationality and language style, and to retain the exotic sentiment for the target readers. (Nie Xiaohua, 2002, 3)&lt;br /&gt;
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On the contrary, foreignization means that the translator should try his best not to disturb the author and let the readers approach the author. In translation, it is to accommodate the language characteristics of foreign culture, absorb foreign language expression, and require the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text, that is, to take the target culture as the destination. The purpose of using foreignization strategy is to consider the differences of national culture, preserve and reflect the characteristics of foreign nationality and language style, and to retain the exotic sentiment for the target readers. (Nie Xiaohua 2002, 3)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:24, 18 December 2020 (UTC)&lt;br /&gt;
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====3.2 Dialectical Analysis of Domestication and Foreignization====&lt;br /&gt;
Domestication and foreignization have a great difference which is the former requires that the text is close to the reader, while the latter requires that the text is close to the author. Some scholars believe that domestication and foreignization, no matter which one is adopted, must be applied in the whole translation text, and cannot be confused. However, in the actual practice of translation, we can't really do that. Translation requires us to faithfully reproduce the thoughts and styles of the author of the original text, which are full of strong foreign style, so it is necessary to adopt the method of foreignization. (Xu Yanan &amp;amp; Zeng Xianmo, 2020, 249)&lt;br /&gt;
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Domestication and foreignization have a great difference which is the former requires that the text is close to the reader, while the latter requires that the text is close to the author. Some scholars believe that domestication and foreignization, no matter which one is adopted, must be applied in the whole translation text, and cannot be confused. However, in the actual practice of translation, we can't really do that. (Xu Yanan &amp;amp; Zeng Xianmo 2020, 249)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:48, 18 December 2020 (UTC)&lt;br /&gt;
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However, at the same time, the translation should also take into account the readers' understanding and the fluency of the original text, so it is necessary to adopt the method domestication. It is not advisable to choose one strategy and completely exclude the other. Each of them has its own advantages and disadvantages, so it cannot achieve the ultimate goal of translation with only one of them. (Xiao Luan &amp;amp; Feng Xuehua, 2011，65)&lt;br /&gt;
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Translation requires us to faithfully reproduce the thoughts and styles of the author of the original text, which are full of strong foreign style, so it is necessary to adopt the method of foreignization. However, at the same time, the translation should also consider the readers' understanding and the fluency of the original text, so it is also necessary to adopt the strategy of domestication. It is not advisable to choose one strategy and completely exclude the other. Each of them has its own advantages and disadvantages, so it cannot achieve the ultimate goal of translation with only one of them. (Xiao Luan &amp;amp; Feng Xuehua 2011，65)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:48, 18 December 2020 (UTC)&lt;br /&gt;
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In translation, we are always faced with the choice of foreignization and domestication, so that the translation can find a middle point between being close to the reader and being close to the author, but the &amp;quot;middle point&amp;quot; is not fixed. Sometimes the translated text is closer to the author and sometimes closer to the reader. However, no matter which side it is close to, it should follow a principle: when being close to the author, the translation should not be too far away from the reader; when being close to the reader, it should not be too far away from the author. (Xiao Luan &amp;amp; Feng Xuehua, 2011，66)&lt;br /&gt;
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In translation, we are always faced with the choice of foreignization and domestication, so that the translation can find a middle point between being close to the reader and being close to the author, but the &amp;quot;middle point&amp;quot; is not fixed. Sometimes the translated text is closer to the author and sometimes closer to the reader. However, no matter which side it is close to, it should follow a principle: when being close to the author, the translation should not be too far away from the reader; when being close to the reader, it should not be too far away from the author. (Xiao Luan &amp;amp; Feng Xuehua 2011，66)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:48, 18 December 2020 (UTC)&lt;br /&gt;
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In other words, foreignization should not hinder the smoothness and understandability of the translated text, and domestication does not lose the style of the original text. At the same time, we should adhere to the domestication strategy for the language form, while foreignization for cultural factors in the original text. In this way, the translated text can combine the advantages of the two strategies and avoid their disadvantages, so that they can achieve common development. Therefore, during the actual translation process, domestication and foreignization should complement each other and the more appropriate translated text can be produced. (Liu Xiaocen，2017，99)&lt;br /&gt;
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In other words, foreignization should not hinder the smoothness and understandability of the translated text, and domestication does not lose the style of the original text. At the same time, we should adhere to the domestication strategy for the language form, while foreignization for cultural factors in the original text. In this way, the translated text can combine the advantages of the two strategies and avoid their disadvantages, so that they can have common development. Therefore, during the practical translation process, domestication and foreignization should complement each other so that appropriate translated texts can be produced. (Liu Xiaocen 2017，99)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:48, 18 December 2020 (UTC)&lt;br /&gt;
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===Chapter 4 The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu===&lt;br /&gt;
There are always contradictions and disputes between foreignization and domestication in the translation of Chinese xiehouyu. There is a great deal of debate in the field of translation about whether to use foreignization to take the culture of source language as the destination and retain the characteristics of the foreign text, or to use domestication to take the culture of target language as the destination and conform to the characteristics of the target language.（Qi Dehui,2011,110）&lt;br /&gt;
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There are always contradictions and disputes between foreignization and domestication in the translation of Chinese Xiehouyu. There is a great deal of debate in the field of translation about whether to use foreignization to take the culture of the source language as the destination and retain the characteristics of the foreign text, or to use domestication to take the culture of the target language as the destination and conform to the characteristics of the target language. (Qi Dehui 2011,110)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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For example, “ 三 个 臭 皮 匠 —— 顶一 个 诸 葛 亮 ”. Some translate it into “Two heads are better than one.” Others translate it into “Three cobblers with their wits combined together equal Zhuge Liang， the master mind.” The first translation is obviously to adopt a domesticated strategy, which conforms to the English expression. It is easy for native English speakers to understand and accept, and it is easy to read. However, the disadvantage is that one (head) in the sentence is not exactly referred as Zhuge Liang in the Chinese Xiehouyu. In Chinese culture, Zhuge Liang was an intelligent man, while one (head) was just an ordinary person. （Qi Dehui,2011,111）&lt;br /&gt;
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For example, “ 三 个 臭 皮 匠 —— 顶一 个 诸 葛 亮 ”. Some translate it into “Two heads are better than one.” Others translate it into “Three cobblers with their wits combined together equal Zhuge Liang， the master mind.” The first translation obviously adopts a domesticating translation strategy, which conforms to the English expression. It is easy for native English speakers to understand and accept, and it is easy to read. However, the disadvantage is that one (head) in the sentence is not exactly referred as Zhuge Liang in the Chinese Xiehouyu. In Chinese culture, Zhuge Liang was an intelligent man, while one (head) was just an ordinary person. （Qi Dehui 2011,111）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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The second translation version adopts foreignization, which retains the characteristics of Chinese, so that readers from English-speaking countries can understand the connotation of Chinese culture from the translation and promote cultural exchanges. But how do readers in English speaking countries feel when they read such articles? how can cultural exchanges be promoted if it is difficult for readers to understand and lose interest in reading? And when readers see the translation, they can't understand that it is an idiom in Chinese which is humorous, catchy and well-known, and the meaning of the Chinese source language is lost. （Qi Dehui,2011,111）&lt;br /&gt;
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The second translation version adopts foreignization strategy, which retains the characteristics of Chinese, so that readers from English-speaking countries can understand the connotation of Chinese culture from the translation and promote cultural exchanges. But how do readers in English speaking countries feel when they read such articles? How can cultural exchanges be promoted if it is difficult for readers to understand and lose interest in reading? And when readers see the translation, they can't understand that it is an idiom in Chinese which is humorous, catchy and well-known, and the meaning of the source language is lost. （Qi Dehui,2011,111）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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For example, （4）那胡正卿心头 “十五个吊桶打水——七上八下” Hu Chengching was very much upset by this and his heart was beating like fifteen buckets being hurriedly lowered into a well for water——eight going down while seven coming up. （5）他这一阵，心头如同十五个吊桶打水——七上八下，老是宁静不下来。His mind was in turmoil these days and he was quite unable to think straight.&lt;br /&gt;
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The fourth example uses foreignization to retain the two images of &amp;quot;fifteen buckets&amp;quot; and &amp;quot;seven up and eight down&amp;quot;; the fifth example uses domestication, abandons the image of the original text, and directly translates it into a more native phrase &amp;quot;in turmoil&amp;quot;. Should foreignization or domestication be adopted in the translation of Chinese Xiehouyu? When do translators use foreignization and when do they use domestication? It depends on the purpose of translation, the characteristics of the translated works and the readers the works are facing with. &amp;quot;If the purpose is to convey culture and let English readers understand and learn Chinese culture, foreignization should be adopted&amp;quot; (Huan Yahui, 2004, 118).&lt;br /&gt;
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For example, （4）那胡正卿心头 “十五个吊桶打水——七上八下” Hu Chengching was very much upset by this and his heart was beating like fifteen buckets being hurriedly lowered into a well for water——eight going down while seven coming up. （5）他这一阵，心头如同十五个吊桶打水——七上八下，老是宁静不下来。His mind was in turmoil these days and he was quite unable to think straight.&lt;br /&gt;
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The fourth example uses foreignization to retain the two images of &amp;quot;fifteen buckets&amp;quot; and &amp;quot;seven up and eight down&amp;quot;; the fifth example uses domestication, abandons the image of the original text, and directly translates it into a more native phrase &amp;quot;in turmoil&amp;quot;. Should foreignization or domestication be adopted in the translation of Chinese Xiehouyu? When do translators use foreignization and when do they use domestication? It depends on the purpose of translation, the characteristics of the translated works and the readers the works are facing with. &amp;quot;If the purpose is to convey culture and let English readers understand and learn Chinese culture, foreignization should be adopted&amp;quot; (Huan Yahui 2004, 118). --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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For example, the Chinese English Dictionary of Xiehouyu compiled by Guo Zhuzhang and Luo Shenghao, and 100 Xiehouyu translated by Jia Cen are designed to let English readers understand and learn Chinese culture, so they mostly adopt the strategy of foreignization. Foreignization can also be used if the features and images of the source language are retained in translation, which will not affect the communication of information and conform to the language usage of the target language (Huan Yahui, 2004, 119).&lt;br /&gt;
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For example, the C-E Dictionary of Xiehouyu compiled by Guo Zhuzhang and Luo Shenghao, and 100 Xiehouyu translated by Jia Cen are designed to let English readers understand and learn Chinese culture, so they mostly adopt the strategy of foreignization. Foreignization can also be used if the features and images of the source language are retained in translation, which will not affect the communication of information and conform to the language usage of the target language (Huan Yahui 2004, 119).--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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For example, （6）咱们俩的事，一条绳上拴着两只蚂蚱——谁也跑不了！We're like two grasshoppers tied to one cord，neither can get away! （7）去设埋伏我们都没有信心，想必他一定在昨天晚上就早溜了，今天去也是瞎子点灯——白费蜡。We had no confidence in today's ambush because we were sure he had escaped last night. It seemed as useless as a blind man lighting a candle.&lt;br /&gt;
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In the process of translation, the translator retains the unique language form of the original text, which not only will not affect the communication of information, but also can promote the exchange of culture and thought, giving the target readers a similar aesthetic enjoyment. Because those vivid metaphors in the original text are the products of human common thinking and they can be understood and accepted by readers in other countries. (Zhou Ningqi, 2008，152)&lt;br /&gt;
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In the process of translation, the translators retain the unique language form of the original text, which not only will not affect the communication of information, but also can promote the exchange of culture and thought, giving the target readers a similar aesthetic enjoyment. Because those vivid metaphors in the original text are the products of common human thinking and they can be understood and accepted by readers in other countries. (Zhou Ningqi 2008, 152)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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However, if a literary work is translated and the readers of the translated text are only for the sake of appreciating the work or even for entertainment, domestication should be adopted. (Zhou Ningqi, 2008，152)&lt;br /&gt;
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However, if a literary work is translated and the readers of the translated text are only for the sake of appreciating the work or even for entertainment, domestication should be adopted. (Zhou Ningqi 2008，152)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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For example: （8）你别狗咬吕洞宾——不识好人心。我是好心好意劝你，倒粘到我身上来了。Don't snarp and snarl at me when I’m trying to do my best for you. I give you my advice with the best will in the world and you turn round and lay the blame on me.&lt;br /&gt;
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This example refers to a character in Chinese mythology. If it is translated literally for the purpose of preserving the cultural information of the original text, it is necessary not only to annotate who Lu Dongbin is, but also to explain to foreign readers the allusion that Lu Dongbin is willing to do good deeds. (Yang Hongwei &amp;amp; Li Yadan,2004,84)&lt;br /&gt;
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This example refers to a character in Chinese mythology. If it is translated literally for the purpose of preserving the cultural information of the original text, it is necessary not only to annotate who Lu Dongbin is, but also to explain to foreign readers the allusion that Lu Dongbin is willing to do good deeds. (Yang Hongwei &amp;amp; Li Yadan 2004,84)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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In fact, the origin of the Chinese Xiehouyu is not important here. It is better to discard its cultural background knowledge and translate it directly into &amp;quot;don't snarp and snarl at me&amp;quot;, which ensures the effective transmission of key information and makes the translation concise and fluent. Although the cultural reference of &amp;quot;狗咬吕洞宾&amp;quot; is not reflected in the translation of this saying, the translator uses the verbs &amp;quot;snarp&amp;quot; and &amp;quot;snarl&amp;quot; to vividly depict the dog biting and barking, which, to some extent, reproduces the vivid and figurative rhetorical effect achieved by the use of Xiehouyu in the original text. (Yang Hongwei &amp;amp; Li Yadan,2004,84)&lt;br /&gt;
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In fact, the origin of the Chinese Xiehouyu is not important here. It is better to discard its cultural background knowledge and translate it directly into &amp;quot;don't snarp and snarl at me&amp;quot;, which ensures the effective transmission of key information and makes the translation concise and fluent. Although the cultural reference of &amp;quot;狗咬吕洞宾&amp;quot; is not reflected in the translation of this saying, the translator uses the verbs &amp;quot;snarp&amp;quot; and &amp;quot;snarl&amp;quot; to vividly depict the dog biting and barking, which, to some extent, reproduces the vivid and the figurative rhetorical effect achieved by the use of Xiehouyu in the original text. (Yang Hongwei &amp;amp; Li Yadan 2004,84)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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（9）我们有些同志喜欢写文章但是没有什么内容，真是“懒婆娘的裹脚——又长又臭”。 Some comrades love to write long articles，but such articles are exactly like the foot-bandages of a slut（the cloth used for women’s foot in ancient China），Long and smelly（implies the articles are long and dull）.&lt;br /&gt;
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（9）我们有些同志喜欢写文章但是没有什么内容，真是“懒婆娘的裹脚——又长又臭”。 Some comrades love to write long articles，but such articles are exactly like the foot-bandages of a slut（the cloth used for women’s foot in ancient China），It's long and smelly（implies the articles are long and dull）.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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A translation is full of long, boring words and obscure annotations that can be daunting to the reader. It can be better to translate the sentence into “these articles are dull and overelaborate”. Through a lot of translation practice, the translation strategies of foreignization and domestication in the translation of Chinese Xiehouyu can be summarized as follows. (Qi Dehui, 2011, 111)&lt;br /&gt;
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A translation is full of long, boring words and obscure annotations that can be daunting to the reader. It can be better to translate the sentence into “these articles are dull and overelaborate”. Through a lot of translation practice, the translation strategies of foreignization and domestication in the translation of Chinese Xiehouyu can be summarized as follows. (Qi Dehui 2011, 111)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:14, 18 December 2020 (UTC)&lt;br /&gt;
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====4.1 The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu====&lt;br /&gt;
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====4.1.1 Literal Translation====&lt;br /&gt;
Most Xiehouyu use vivid metaphors, whose metaphorical meaning is referred as general things or common sense. When the metaphorical relationship is clear, literal translation is generally adopted as long as it does not affect the understanding of the target language readers, that is to say, literal translation is adopted without too much extension and explanation, so as to retain both the content and the form of the source language. It is not only faithful to the original text, but also vivid and easy for the target language readers to read and appreciate. (Qi Dehui, 2011, 111)&lt;br /&gt;
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Most Xiehouyu use vivid metaphors, whose metaphorical meaning is referred to general things or common sense. When the metaphorical relationship is clear, literal translation is generally adopted as long as it does not affect the understanding of the original text, that is to say, literal translation is adopted without too much extension and explanation, so as to retain both the content and the form of the source language. It is not only faithful to the original text, but also vivid and easy for the target language readers to read and appreciate. (Qi Dehui 2011, 111)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:20, 18 December 2020 (UTC)&lt;br /&gt;
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For example,&lt;br /&gt;
（10）瘫子掉在井里——捞起也是坐。（Even if a paralytic falls into a well，he can be no worse off than before.）(Yang Xianyi &amp;amp; Dai Naidie,1986)&lt;br /&gt;
（11）竹篮打水——一场空。（Drawing water from a bamboo basket——all in vain. ）&lt;br /&gt;
（12）哑巴梦见妈——说不出来的苦。（Like a dumb man dreaming of his mother，he could not express his despair! ）&lt;br /&gt;
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For example,&lt;br /&gt;
（10）瘫子掉在井里——捞起也是坐。（If a paralytic falls into a well，he can be no worse off than before.）(Yang Xianyi &amp;amp; Dai Naidie,1986)&lt;br /&gt;
（11）竹篮打水——一场空。（Drawing water from a bamboo basket——all in vain. ）&lt;br /&gt;
（12）哑巴梦见妈——说不出来的苦。（Like a dumb man dreaming of his mother，he could not express his despair! ）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:20, 18 December 2020 (UTC)&lt;br /&gt;
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The above three cases are translated by Yang Xianyi. The translator adopts literal translation to keep the original style of the source language and strive to meet the expectations of the target language readers for heterogeneity. (Qi Dehui, 2011, 112)&lt;br /&gt;
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The above three cases are translated by Yang Xianyi. The translator adopts literal translation to keep the original style of the source language and strive to meet the expectations of the target language readers for heterogeneity. (Qi Dehui 2011, 112)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:20, 18 December 2020 (UTC)&lt;br /&gt;
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====4.1.2  Literal Translation with Notes====&lt;br /&gt;
In Chinese, idioms with a dog are generally derogatory, such as &amp;quot;狼心狗肺、狗腿子、狗仗人势、狗头军师&amp;quot;, and so on. However, in English, the words and sentences about dog are often positive, such as &amp;quot;every dog has its day.&amp;quot; Western readers may not understand the differences between the two languages and cultures. Therefore, in the translation with foreignization, literal translation with notes should be adopted to fully express the original meaning and metaphorical meaning of Chinese Xiehouyu. For example, &amp;quot;狗戴帽子——装人&amp;quot; is a taunt. It can be translated as &amp;quot; A dog is wearing a cap —— pretending to be a human being （an insult）.&amp;quot; In this way, the English reader would not be misunderstood. (Zhou Ningqi, 2008，153)&lt;br /&gt;
&lt;br /&gt;
In addition, some Xiehouyu with allusions are often literally translated with notes, so as not to make English readers feel puzzled.&lt;br /&gt;
&lt;br /&gt;
In Chinese, idioms about dog are generally derogatory, such as &amp;quot;狼心狗肺&amp;quot;、&amp;quot;狗腿子&amp;quot;、&amp;quot;狗仗人势&amp;quot;、&amp;quot;狗头军师&amp;quot;, and so on. However, in English, the words and sentences about dog are often positive, such as &amp;quot;every dog has its day.&amp;quot; Western readers may not understand the differences between the two languages and cultures. Therefore, in the translation with foreignization, literal translation with notes should be adopted to fully express the original meaning and metaphorical meaning of the Chinese Xiehouyu. For example, &amp;quot;狗戴帽子——装人&amp;quot; is a taunt. It can be translated as &amp;quot; A dog is wearing a cap —— pretending to be a human being （an insult）.&amp;quot; In this way, the English reader would not misunderstand its meaning. (Zhou Ningqi, 2008，153)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:45, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In addition, some Xiehouyu with allusions are often literally translated with notes, so as not to make English readers feel puzzled.&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（13）周瑜打黄盖——一个愿打，一个愿挨。 &lt;br /&gt;
Box on the ear was skillfully given by a Chou Yu and gladly taken by a Huang Kai.（A  fourteenth century novel based on events which took place in the third century A.D. Chou Yu of the Kingdom Wu had Huang Kai，another of Wu general，cruelly beaten，and then sent  him to the enemy camp in order to deceive the enemy.）&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（13）周瑜打黄盖——一个愿打，一个愿挨。 &lt;br /&gt;
Box on the ear was skillfully given by Chou Yu and gladly taken by Huang Kai.（A fourteenth century novel based on events which took place in the third century A.D. Chou Yu of the Kingdom Wu had Huang Kai，another of Wu general，cruelly beaten，and then sent him to the enemy camp in order to deceive the enemy.）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:45, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====4.2 Domestication in the translation of Chinese Xiehouyu====&lt;br /&gt;
&lt;br /&gt;
====4.2.1 Free Translation====&lt;br /&gt;
Free translation mainly refers to grasping the content and metaphorical meaning in translation, combining with the context, and flexibly conveying the meaning. (Guo Jianzhong, 1996, 13)&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（14）我这个人你也知道。说话向来是袖筒里入槌——直出直入。(You know me——I speak frankly and to the point.)&lt;br /&gt;
&lt;br /&gt;
（15）他必审问我，我给他个“徐庶入曹营”——一言不发。(He sure to ask questions but I'll hold my tongue to begin with.)&lt;br /&gt;
&lt;br /&gt;
（16）穷棒子闹翻身，是八仙过海，各显神通。(When we pass from the old society to the new one，each of us shows his true worth.)&lt;br /&gt;
&lt;br /&gt;
（17）我们校队近年来可是“孔夫子搬家——净是（输）书。”(Our school team has kept losing in the recent years.)&lt;br /&gt;
&lt;br /&gt;
Free translation mainly refers to grasping the content and metaphorical meaning when transalating by combining with the context, which flexibly conveys the meaning. (Guo Jianzhong, 1996, 13)&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（14）我这个人你也知道。说话向来是袖筒里入槌——直出直入。(You know me——I speak frankly to the point.)&lt;br /&gt;
&lt;br /&gt;
（15）他必审问我，我给他个“徐庶入曹营”——一言不发。(He is sure to ask questions but I'll hold my tongue.)&lt;br /&gt;
&lt;br /&gt;
（16）穷棒子闹翻身，是八仙过海，各显神通。(When we pass from the old society to the new one，each of us shows his true worth.)&lt;br /&gt;
&lt;br /&gt;
（17）我们校队近年来可是“孔夫子搬家——净是（输）书。”(Our school team has kept losing in the recent years.)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 08:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====4.2.2 Combination of literal and free translation====&lt;br /&gt;
While literal translation is adopted to retain the metaphorical image of the original text, free translation is also used, sometimes with some appropriate supplement, so that the translation can convey the meaning of the original text more clearly. Chinese Xiehouyu often carries a deep historical and cultural implication. It is very difficult to transfer the loaded cultural information in Chinese Xiehouyu into English. (Gao Yun &amp;amp; Yu Jie, 2004, 126)&lt;br /&gt;
&lt;br /&gt;
While the literal translation is adopted to retain the metaphorical image of the original text, free translation is also used, sometimes with some appropriate supplement, so that the translation can convey the meaning of the original text more clearly. The Chinese Xiehouyu often carries a deep historical and cultural implication. It is very difficult to transfer the loaded cultural information in Chinese Xiehouyu into English. (Gao Yun &amp;amp; Yu Jie 2004, 126)&lt;br /&gt;
&lt;br /&gt;
Some Xiehouyu with strong national cultural features lie in the image and style, and the translation should be based on the premise of being faithful to the meaning expressed in the original text. Literal translation should be followed by free translation to show its metaphorical meaning &amp;quot;. The combination of literal translation and free translation is undoubtedly one of the effective means of cultural compensation, which not only keeps the metaphorical image of the source language, but also maintains the integrity of the cultural content. (Qi Dehui, 2011, 112)&lt;br /&gt;
&lt;br /&gt;
Some Xiehouyu has strong national cultural features in the image and style, and the translation should be based on the premise of being faithful to the meaning expressed in the original text. Literal translation should be followed by a free translation to show its metaphorical meaning. The combination of literal translation and free translation is undoubtedly one of the effective means of cultural compensation, which not only keeps the metaphorical image of the source language, but also maintains the integrity of the cultural content. (Qi Dehui 2011, 112) --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:12, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（18）我说二三百两银子，你就说二三十两，戴着斗笠亲嘴——差着一帽子。 (When I say two or three hundred taels，you say twenty or thirty!  It's like kissing in straw helmets——the lips are far apart!)&lt;br /&gt;
（19）兔子的尾巴——长不了（Guo Jiangzhong, 1996, 12）(The tail of a rabbit can't be long——won't last long.)&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（18）我说二三百两银子，你就说二三十两，戴着斗笠亲嘴——差着一帽子。 (When I say two or three hundred taels，you say twenty or thirty!  It's like kissing with straw helmets——the lips are far apart!)&lt;br /&gt;
（19）兔子的尾巴——长不了(The tail of a rabbit can't be long—— something won't last long.) （Guo Jiangzhong, 1996, 12）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:12, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====4.2.3 Equivalent Translation====&lt;br /&gt;
Some English idioms and some Chinese Xiehouyu use the same or similar metaphors to express the same or similar metaphorical meanings, in this case, may as well borrow English synonym idioms to translate them. That is to change the original image of the vehicle in translation and translate it with a metaphor familiar to English readers. That is to say, the target text and the original text adopt different vehicles to create the same image, convey the same spirit and achieve the same effect. (Qi Dehui, 2011, 112)&lt;br /&gt;
&lt;br /&gt;
Some English idioms and some Chinese Xiehouyu use the same or similar metaphors to express the same or similar metaphorical meanings. In this case, borrowing English synonym idioms to translate them is proper as well. That is to change the original image of the vehicle in translation and translate it with a metaphor familiar to English readers. That is to say, the target text and the original text adopt different vehicles to create the same image, convey the same spirit and achieve the same effect. (Qi Dehui 2011, 112)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:18, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（20）冰冻三尺——非一日之寒。 (Rome was not built in a day.)&lt;br /&gt;
（21）肉包子打狗——一去不回头。（A dog given a bone that doesn't come back for more.）&lt;br /&gt;
（22）脱裤子放屁——多此一举。(To carry coals to Newcastle.)&lt;br /&gt;
&lt;br /&gt;
When using English idioms to translate Chinese Xiehouyu, we should pay attention to the rhetorical features. If the rhetorical feature of two languages is different, we cannot apply it. For example, &amp;quot;老王卖瓜——自卖自夸&amp;quot; must be translated into “No man cries stinky Fish”, because the former has a positive meaning, while the latter does not. （Ling Li,2004,59）&lt;br /&gt;
&lt;br /&gt;
When using English idioms to translate Chinese Xiehouyu, we should pay attention to the rhetorical features. If the rhetorical features of two languages are different, we cannot apply it. For example, &amp;quot;老王卖瓜——自卖自夸&amp;quot; must be translated into “No man cries stinky Fish”, for the former has a positive meaning, while the latter does not. （Ling Li 2004,59）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:18, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====4.2.4 Omission====&lt;br /&gt;
Omission refers to the deletion of certain words from the original text, not to delete the original text, but to leave out the words that are self-evident in the translation, or to leave out words that are too cumbersome or not suitable for English expression. This method is especially suitable for the translation of some Chinese Xiehouyu. (Zhou Ningqi, 2008，152)&lt;br /&gt;
&lt;br /&gt;
Omission refers to the deletion of certain words from the original text. It is not to delete the original text, but to leave out the words that are self-evident in the translation, or to leave out words that are too cumbersome or not suitable for English expression. This strategy is especially suitable for the translation of some Chinese Xiehouyu. (Zhou Ningqi, 2008，152)&lt;br /&gt;
&lt;br /&gt;
For example,&lt;br /&gt;
（23）癞蛤蟆想吃天鹅肉——痴心妄想。 (You are like a toad trying to swallow a swan.)&lt;br /&gt;
（24）赔了夫人又折兵——双重损失。 (You’ve lost the campaign and your wife into the bargain.)&lt;br /&gt;
&lt;br /&gt;
The metaphorical meanings of the above two examples are quite obvious. The target language readers can infer the figurative meaning directly from the image of the vehicle or from the context of Chinese Xiehouyu, so only the metaphorical part can be translated.(Yang &amp;amp; Dai,1986)&lt;br /&gt;
&lt;br /&gt;
The metaphorical meanings of the above two examples are quite obvious. The target language readers can infer the figurative meaning directly from the image of the vehicle or from the context of Chinese Xiehouyu, so only the metaphorical part can be translated.(Yang &amp;amp; Dai 1986)--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
To sum up, in the translation of Chinese Xiehouyu, attention should be paid to the similarity of form and spirit, so that the surface and deep meanings can be expressed accurately, clearly and vividly. Therefore, we should flexibly adopt the methods of straightness and explanation (free translation and annotation) to truly show the stylistic and pragmatic characteristics of Chinese Xiehouyu. Moreover, the translation of Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning of as accurately and appropriately as possible, which is the key to the good translation of Xiehouyu. (Liu Na, 2016,19)&lt;br /&gt;
&lt;br /&gt;
To sum up, in the translation of Chinese Xiehouyu, attention should be paid to the similarity of form and spirit, so that the surface and deep meanings can be expressed accurately, clearly and vividly. Therefore, we should flexibly adopt the strategies of free translation andliteral translation to truly show the stylistic and pragmatic characteristics of the Chinese Xiehouyu. Moreover, the translation of the Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning as accurately and appropriately as possible, which is the key to translating Xiehouyu well. (Liu Na 2016,19) --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In the cultural perspective translation is a communicating process, in which the choosing of translation strategies is of vitality. In the communication of western and Chinese culture, we should absorb the quintessence and abolish what is old and establish in its place the new order of things. When we learn from the languages and cultures of different nationalities, we should also be openminded and inclusive.  &lt;br /&gt;
&lt;br /&gt;
In the cultural perspective translation is a communicating process, in which the choosing of translation strategies is of vitality. In the communication of western and Chinese culture, we should absorb the quintessence and abolish what is old and establish in its place the new order of things. When we learn about the languages and cultures of different nationalities, we should also be open-minded and inclusive.  --[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the translation field, literary translation has always occupied an important position, and the research on literary translation is the most active and developed at all times and in all countries. The translation of Chinese Xiehouyu can lay a theoretical foundation for better learning other languages. The translation of Chinese Xiehouyu is not only the conversion between two languages, but also the interlingual activity of cultural exchange between the two nations. Starting from the two languages, we should not only learn our own language, but also have a deep and profound understanding of our own culture. Thus, we can be easier to translate Chinese Xiehouyu into English by narrowing cultural gap and eliminate the obstacles of language.&lt;br /&gt;
&lt;br /&gt;
In the translation field, literary translation has always occupied an important position, and the research on literary translation is active at all times and in all countries. The translation of the Chinese Xiehouyu can lay a theoretical foundation for better learning other languages. The translation of Chinese Xiehouyu is not only the conversion between two languages, but also the interlingual activity of cultural exchange between the two nations. We should not only learn our own language, but also have a deep and profound understanding of our own culture. Thus, we can narrow the cultural gap and eliminate the obstacles of language by translating Chinese Xiehouyu into English.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The translation of Xiehouyu is flexible，which needs surmount double barriers to language and culture and adopt different translation methods according to different situations. In order to convey Chinese culture and let English readers understand and learn Chinese culture, foreignization should be adopted. Moreover, those which is vivid and easy to understand should retain their original content and form, and foreignization can also be adopted for literal translation. &lt;br /&gt;
&lt;br /&gt;
The translation of Xiehouyu is flexible, which needs surmount double barriers of language and culture and adopt different translation strategies according to different situations. In order to convey Chinese culture and let English readers understand and learn Chinese culture, foreignization should be adopted. Moreover, those which is vivid and easy to understand should retain their original content and form.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, domestication should be adopted when translating literary works. For example, due to the cultural and linguistic differences, some Xiehouyu can be translated with the strategy of domestication, which is easier to be accepted by the target language readers; for metaphorical Xiehouyu and paronomasia Xiehouyu with strong national characteristics, literal and free translation can be used with the strategy of foreignization.&lt;br /&gt;
&lt;br /&gt;
However, domestication should be adopted when translating literary works. For example, due to the cultural and linguistic differences, some Xiehouyu can be translated with the strategy of domestication, which is easier to be accepted by the target language readers; for metaphorical Xiehouyu and paronomasia Xiehouyu with strong national characteristics, literal and free translation can be used with the strategy of foreignization.&lt;br /&gt;
&lt;br /&gt;
However, domestication should be adopted when translating literary works. For example, due to the cultural and linguistic differences, some Xiehouyu can be translated with the strategy of domestication, which is easier to be accepted by the target language readers; For metaphorical Xiehouyu and paronomasia Xiehouyu with strong national characteristics, literal translation and free translation can be used.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In a word, as far as the structure of the target language are concerned, the phrases and sentences are all in line with the translation standards. Chinese Xiehouyu not only carries the wisdom of Chinese predecessors, but also reflects the profound culture, history and thinking mode of the Chinese nation from different perspective. In the process of translation, the translator should try to keep the style of the original work, focus on the target language readers, and translate the Chinese Xiehouyu appropriately to avoid wrong translation, overtranslation or undertranslation. &lt;br /&gt;
&lt;br /&gt;
In a word, as far as the structure of the target language are concerned, the phrases and sentences are all in line with the translation standards. Chinese Xiehouyu not only carries the wisdom of Chinese predecessors, but also reflects the profound culture, history and thinking mode of the Chinese nation from a different perspective. In the process of translation, the translator should try to keep the style of the original work, focus on the target language readers, and translate the Chinese Xiehouyu appropriately to avoid wrong translation, overtranslation or undertranslation.--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Therefore, the translation of Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning as accurately and appropriately as possible, which is the key to the good translation of Chinese Xiehouyu.&lt;br /&gt;
&lt;br /&gt;
Therefore, the translation of the Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning as accurately and appropriately as possible, which is the key to the good translation of Chinese Xiehouyu.(与上文重复）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Reference'''===&lt;br /&gt;
&lt;br /&gt;
1.Mark Shuttleworth &amp;amp; Moira Cowie. (2004). ''Dictionary of Translation Studies''. Shanghai Foreign Language Education Press. 43-59.&lt;br /&gt;
&lt;br /&gt;
2. Venuti, L. (1995). ''The Translator's Invisibility''. London and New York: Routledge. 19-20.&lt;br /&gt;
&lt;br /&gt;
3.Yan Xiaohua 晏小花.(2002). 翻译中的异化和归化. [Foreignization and Domestication in Translation]. 湖南医科大学学报[Journal of Social Science of Human Medical University]25-27.&lt;br /&gt;
&lt;br /&gt;
4.Wang Yijun 王义军.(2009). 从归化和异化看文化与翻译.[ Culture and Translation from the Perspective of Domestication and Foreignization] 安徽文学 [Anhui Literature] 216-217.&lt;br /&gt;
&lt;br /&gt;
5.Miregu.Aimaiti米热姑·艾买提.(2014). 汉语歇后语在维吾尔语中的翻译研究[Studying on Translating Chinese Two-Part Allegorical Sayings into Uyghur].甘肃：西北民族大学[Gansu：Northwest Minzu University] 5-8.&lt;br /&gt;
&lt;br /&gt;
6.Wen Duanzheng 温端政. (2002).中国歇后语大词典.[''Chinese Xiehouyu dictionary'']. 上海：上海辞书出版社[Shanghai: Shanghai Lexicographic Publishing House] 20-21.&lt;br /&gt;
&lt;br /&gt;
7.Lian Shuneng 连淑能. (1993). 英汉对比研究.[''Contrastive Studies of English And Chinese'']. 北京：高等教育出版社[Beijing:Higher Education Press]&lt;br /&gt;
&lt;br /&gt;
8. Bao Huinan &amp;amp; Bao Ang 包惠南，包昂. (2000). 实用文化翻译学[''Studies of Practical Cultural Translation''] . 上海：上海科学普及出版社[Shanghai: Shanghai Science Popularization Press] 64-65.&lt;br /&gt;
&lt;br /&gt;
9. John S.Rohsenow. (1991). ''A Chinese-English Dictionary of Enigmatic Folk Similes''. The University of Arizona Press.&lt;br /&gt;
&lt;br /&gt;
10.Jin Huikang 金惠康.(2004). 跨文化交际翻译续编.[''Translation in Intercultural Communication, Book 2'']. 北京：中国对外翻译出版公司[Beijing: China Translation &amp;amp; Publishing Corporation] 452-453.&lt;br /&gt;
&lt;br /&gt;
11.Ling Li 凌利.(2004). 歇后语词典.[''A Dictionary of Chinese Allegorical Sayings'']. 呼和浩特：内蒙古人民出版社[Huhehaote: Neimenggu People's Publishing House] 59-452.&lt;br /&gt;
&lt;br /&gt;
12.Huang Yahui 黄亚慧.(2006). 论汉语歇后语的汉译英的异化问题.[ Journal of Neijiang Normal University]. 内江师范学院学报[Journal of Neijiang Normal University].118-119.&lt;br /&gt;
&lt;br /&gt;
13. Chen Hongwei &amp;amp; Li Yadan 陈宏微，李亚丹. (2004). 新编汉英翻译教程.[''A New Coursebook On Chinese-English Translation'']. 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].84-86.&lt;br /&gt;
&lt;br /&gt;
14.Yang Xianyi &amp;amp; Dai Naidie. 杨宪益，戴乃迭. (1986). 《儒林外史》英译本.[''The Scholars'']. 长沙：湖南出版社 [Changahs: Hunan Publishing House]&lt;br /&gt;
&lt;br /&gt;
15.Guo Jiangzhong. 郭建中.(1996). 汉语歇后语翻译的理论与实践.[Theory and Practice of Translation of Chinese Allegorical Sayings]. 中国翻译 [China Academic Journal Electronic Publishing House].12-13.&lt;br /&gt;
&lt;br /&gt;
16.Gao Yun &amp;amp; Yu Jie. 高芸, 于洁.(2004). 汉语歇后语英译研究.[On English Versions for Chinese Enigmatic Folk Similes] 怀化学院学报 [Journal of Huaihua University].124-126.&lt;br /&gt;
&lt;br /&gt;
17. Qi Dehui. 戚德慧. (2011). 归化与异化在汉语歇后语英译中的运用.[ The Application of Domestication and Foreignization in the English Translation of Chinese Xiehouyu].  现代语文(语言研究版).[Modern Chinese].110-112.&lt;br /&gt;
&lt;br /&gt;
18.Xiao Luan &amp;amp; Feng Xuehua. 肖鸾, 冯学华. (2011). 浅析归化和异化及其在旅游资料翻译中的实践. [Domestication and Foreignization and Their Application in Tourism Translation]. 郧阳师范高等专科学校学报 [Journal of Yunyang Teachers College].65-66.&lt;br /&gt;
&lt;br /&gt;
==A Brief Analysis of Domestication and Foreignization in the Translation of Chinese Idioms Zou Xinyu 邹鑫雨 202070080633, majored in English Translation==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 邹鑫雨 Zou Xinyu, No.202070080633.&amp;lt;/center&amp;gt;--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 13:19, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translation of Chinese idioms has something to do with cultural differences of English and Chinese. To appositely adjust cultural differences between English and Chinese, a large number of translators use two translation strategies: domestication and foreignization, when translating Chinese idioms. &lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization are two kinds of translation strategies which are culture-oriented. This paper will make an introduction of domestication and foreignization in the first part, and then will introduce the definition and cultural connotations of Chinese idioms. Then, it will discuss the application of these two translation strategies to Chinese idioms by taking some examples so that the author of this paper can make a brief analysis of the relativity of these two translation strategies, domestication and foreignization, and learn how to select proper translation strategies to translate Chinese idioms. &lt;br /&gt;
&lt;br /&gt;
The study of the translation of Chinese idioms is conducive to the development of language, which will promote international exchanges and cooperation as well as the innovation of translation methods, thus deepening the organic integration of two translation strategies of domestication and foreignization in the translation of idioms and promoting the research and development of translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Domestication; Foreignization; Chinese Idioms; Translation&lt;br /&gt;
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===题目===&lt;br /&gt;
浅析汉语习语翻译的归化异化&lt;br /&gt;
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===摘要===&lt;br /&gt;
汉语习语的翻译涉及到英汉文化差异。为了适当地调和英汉文化之间的差异，许多译者采用了归化和异化的翻译策略。&lt;br /&gt;
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归化和异化是两种以文化为导向的翻译策略，本文第一部分先介绍归化异化两种策略，紧接着在第二部分从含义、文化内涵方面对汉语习语进行了介绍，然后通过举例来探讨这两种翻译策略在汉语习语翻译中的运用，从而分析出这两种翻译策略的相关性以及如何选取合适的翻译策略来翻译汉语习语。&lt;br /&gt;
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对汉语习语翻译的研究有利于语言的发展，促进国际间的交流与合作，推进翻译方法的革新，加深归化异化两种翻译策略在习语翻译中的有机融合，推动翻译的研究与发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
归化；异化；汉语习语；翻译&lt;br /&gt;
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===Chapter1 Domestication and Foreignization===&lt;br /&gt;
Domestication and foreignization are two different translation strategies, they are commonly used in the translation of Chinese idioms. In this chapter, the author will introduce the definition of domestication and foreignization, and then will present the debates on these two translation strategies.&lt;br /&gt;
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====The Definition of Domestication and Foreignization====&lt;br /&gt;
Domestication is a term used by Lawrence Venuti, American translation theorist, to describe the translation strategy in which a transparent, fluent style is adopted to minimize the strangeness of the foreign text for readers of target language (Venuti 1995, 19-20). Venuti believes domestication originated from Friedrich Schleiermacher's famous notion of the translation which &amp;quot;leaves the reader in peace, as much as possible, and moves the author towards him&amp;quot; (Schleiermacher 1838/1963, 47; 1838/1977, 74). &lt;br /&gt;
Domestication is a term used by Lawrence Venuti, American translation theorist, to describe the translation strategy in which a transparent, fluent style is adopted to minimize the strangeness of the foreign text for readers of target language (Venuti 1995, 19-20). Venuti believes domestication originated from Friedrich Schleiermacher's famous notion of the translation which &amp;quot;leaves the reader in peace, as much as possible, and moves the author towards him&amp;quot; (Schleiermacher 1838/1963, 47; 1838/1977, 74). --[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:02, 19 December 2020 (UTC)&lt;br /&gt;
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From Venuti's perspective, domestication has negative connotations as it's regarded as a policy common in dominant cultures which are &amp;quot;aggressively monolingual, unreceptive to the foreign&amp;quot;, and which he describes as being &amp;quot;accustomed to fluent translation that invisibly inscribe foreign texts with values of target language and provide readers with the narcissistic experience of recognizing their own culture in a culture order&amp;quot; (Venuti 1995, 15). &lt;br /&gt;
From Venuti's perspective, domestication has negative connotations as it's regarded as a policy common in dominant cultures which are &amp;quot;aggressively monolingual, unreceptive to the foreign&amp;quot;, and which he describes as being &amp;quot;accustomed to fluent translation that invisibly inscribe foreign texts with values of target language and provide readers with the narcissistic experience of recognizing their own culture in a culture order&amp;quot; (Venuti 1995, 15). --[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:02, 19 December 2020 (UTC)&lt;br /&gt;
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According to Venuti, domestication is the predominant translation strategy in Anglo-American culture, and he argues that this is consistent with the unbalanced relation between Anglo-American culture and other cultures. He further points out that domestication has widely served domestic affairs, therefore it's necessary to adopt other translation strategies to challenge the domination of domestication (Venuti 1995, 15). &lt;br /&gt;
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Foreignization is a term used by Lawrence Venuti to describe the translation strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the origin text (Venuti 1995, 19-20). Venuti asserts foreignization is derived from the translation type, stated by Schleiermacher, in which &amp;quot;the translator leaves the author in peace, as much as possible, and moves the reader towards him&amp;quot; (Schleiermacher 1838/1963, 47; 1838/1977, 74).&lt;br /&gt;
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As far as Venuti is concerned, he describes foreignization as an &amp;quot;ethnodeviant pressure&amp;quot; (Venuti 1995, 20), and thus considers it can &amp;quot;register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; (Venuti 1995, 20). In specific terms foreignization means not only the freedom from the absolute restriction of target language and texts, but the selection of an non-fluent, opaque style in some appropriate situations and the deliberate accumulation of &amp;quot;Realia&amp;quot; of source language or &amp;quot;Archaisms&amp;quot; of target language, which would provide readers of target language with an &amp;quot;alien reading experience&amp;quot; (Venuti 1995, 20).&lt;br /&gt;
As far as Venuti is concerned, he describes foreignization as an &amp;quot;ethnodeviant pressure&amp;quot; (Venuti 1995, 20), and thus considers it can &amp;quot;register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; (Venuti 1995, 20). In specific terms foreignization means not only the freedom from the absolute restriction of target language and texts, but the selection of an non-fluent, opaque style in some appropriate situations and the deliberate accumulation of &amp;quot;Realia&amp;quot; of source language or &amp;quot;Archaisms&amp;quot; of target language, which would provide readers of target language with an &amp;quot;alien reading experience&amp;quot; (Venuti 1995, 20).--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:02, 19 December 2020 (UTC)&lt;br /&gt;
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====The Debates on Domestication and Foreignization====&lt;br /&gt;
There has been a long-standing debate about how to deal with cultural differences in translation. There are many scholars, such as John Dryden, Alexander Tytler, Denham, Lefevere, Frere, who approved of domestication. Domestication has been in the dominant position for a long time. To begin with, translation theorists like Cicero, Saint Jeromi and Quintilian raised some ideas about word-for-word translation and sense-for-sense translation. Considered from the theories they put forward, they favored free translation (Schulte &amp;amp; Biguenet 1992, 13).&lt;br /&gt;
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As is well-known, Eugene A. Nida proposed the concept of functional equivalence. From his perspectives, translation is communication, in which what really matters is what people get when they listen, speak and read the translated text. Translation shouldn't be judged by the comparison of the corresponding lexical meanings, grammatical categories and rhetorical devices, but by the extent to which the recipient correctly understands and appreciates the translated text. The purpose of Nida's functional equivalence theory is that the expression of the translated text should be completely natural, so that the readers can better understand the original text through domestication translation, thus avoiding cultural conflicts, eliminating the gap, and finally achieving the purpose of cultural exchange (Nida 1993, 118). &lt;br /&gt;
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The supporters of domestication hold the view that the translator should take readers into consideration, and if the content of the translation is not within the reader's understanding, the effect of translation and communication will not be achieved, and secondly the translator should try to avoid cultural conflicts, and in the process of translation, the translator should constantly get closer to the target reader, so that the target reader can read the translation with the same effect as the reader of the original text. Thirdly, each language has its own cultural connotation, so if there is a cultural gap between the two languages, foreignization will not only result in a non-fluent translation, but also in the reader's unacceptability of the translation. Last but not least, it cannot be realized to find the completely equivalent word in another language, so to avoid producing opaque translations, it's no doubt that domestication is a better choice (Chan 2004, 171).&lt;br /&gt;
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Foreignization started later than domestication, and gained much popularity in the 20th century. Many scholars' translations embody this translation strategy, including many of Ezra Pound's translations and Nabokov's famous literal translation of Pushkin's Eugene Onegin (Mark Shuttleworth &amp;amp; Moira Cowie 2004, 59).&lt;br /&gt;
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Lawrence Venuti firstly defined foreignization and was a representative of foreignization. Venuti described foreignization in his book ''The Translator's Invisibility'' as &amp;quot;a form of resistance, which is against ethnocentrism, racism, cultural narcissism and imperialism, in the interests of democratic geopolitical relations&amp;quot; (Venuti 1995, 20). He proposed a translation theory and practice that opposes translation fluency and aims not to eliminate linguistic and cultural differences in translation, but to express such linguistic and cultural differences in translation. This is also one of the basic ideas of deconstructionist translation thought. It's said by Venuti that &amp;quot;the aim of opposing domestication and advocating foreignization is to develop a translation theory and practice that resists the predominance of cultural values of the target language, thus expressing the linguistic and cultural differences of foreign texts&amp;quot; (Venuti 1995, 20). Foreignization is premised on the belief that cultures differ from each other and that communication is complicated by cultural differences between and within linguistic communities. Foreignization is to recognize and tolerate the differences and to express the cultural differences in the target language. &lt;br /&gt;
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People who favor of foreignization hold the following reasons. Firstly, the translator should make every effort to be faithful to the original work in the translation, and the content of the original work should be reproduced to the maximum extent. If the translator fails to reach this, then the translation will be considered as faithful. Secondly, adding the expression of source language into target language will enrich the target language. Thirdly, the purpose of readers' reading translations is to learn about foreign cultures, which foreignization can help to realize. Foreignization attempts to keep the characteristics of the source language (孙致礼 2002, 40-44). The debate between domestication and foreignization has still continued until the 21st century.&lt;br /&gt;
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===Chapter2 The Definition and Cultural Connotations of Chinese Idioms=== &lt;br /&gt;
It is of great importance to have an understanding of Chinese idioms before analyzing domestication and foreignization in the translation of Chinese idioms. Chinese idioms are closely related to various Chinese cultures. Domestication and foreignization are commonly used by translators in dealing with cultural factors in translation. Therefore, in this chapter, the author will introduce the definition and cultural connotations of Chinese idioms.&lt;br /&gt;
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====The Definition of Chinese Idioms====&lt;br /&gt;
According to ''Modern Chinese Dictionary'', Chinese idioms are &amp;quot;concise and meaningful phrases or short sentences that have been in long public usage&amp;quot; (Dictionary Editorial Office, Institute of Linguistics, Chinese Academy of Social Sciences 2002, 248). &lt;br /&gt;
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In ''The New Oxford Dictionary of English'', idiom is &amp;quot;a group of words established by usage as having a meaning not deducible from those of the individual words; a form of expression natural to a language, a person, or group of people&amp;quot; (Hanks 2001, 908). &lt;br /&gt;
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As is defined in ''Webster's New World Dictionary of the American'' (1972), idiom means &amp;quot;an accepted phrase, construction, or expression contrary to the usual patterns of the language or having a meaning different from the literal&amp;quot;. &lt;br /&gt;
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These definitions all mention that idioms are formed in the long process that people use languages, and they cannot be understood from their literal words because they are closely related to the culture. Thus, the cultural characteristics must be taken into consideration.&lt;br /&gt;
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====The Cultural Connotations of Chinese Idioms====&lt;br /&gt;
In this section, the author will divide the cultural connotation of Chinese idioms into four groups: geographical culture, conventional culture, historical culture and religious culture.   &lt;br /&gt;
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For Chinese idioms reflecting geographical culture, they are created in China's particular geographical environment. China has been a big country dominated by agriculture since ancient times, and the agricultural population accounts for a large proportion. Therefore, a large part of Chinese idioms is related to agriculture. They are the crystallization of the extremely rich wisdom accumulated by the working people in the productive labor for generations. For example, those who engage in agriculture will say: &amp;quot;靠山吃山，靠水吃水&amp;quot; (One has to make use of whatever resources available.), &amp;quot;种瓜得瓜，种豆得豆&amp;quot; (What goes around comes around.), &amp;quot;一日之计在于晨&amp;quot; (An hour in the morning is worth two in the evening.) (Qiu Nengsheng, Qiu Xiaoqin 2019, 52). &lt;br /&gt;
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For Chinese idioms reflecting conventional culture, they derive from Chinese national customs in the social life. Chinese people are made of fifty-six ethnic groups, and each group has its own customs. Just in Han, there are many types of customs such as marriage customs, drinking customs, funeral customs, etc. Among these different aspects of customs, people create abundant Chinese idioms. For an instance, &amp;quot;红运当头&amp;quot; which means one has a good fortune, &amp;quot;开门红&amp;quot; which means to make a good start (Qiu Jixin 2002, 45).&lt;br /&gt;
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For Chinese idioms reflecting historical culture, they originate from Chinese long-run national history and culture. An important element of Chinese idioms reflecting historical culture is the historical allusions and fables. They are treasures of Chinese national history and culture, with strong national colors and distinctive cultural personalities, containing rich historical and cultural information, and reflecting the characteristics of historical cultures. Many idioms of this type come from historical allusions and fables. For an instance, &amp;quot;万事俱备，只欠东风&amp;quot; comes from the Battle of the Red Cliff, &amp;quot;八仙过海，各显神通&amp;quot; reflects the content of Chinese traditional myths and legends (Zhang Ning 1999, 24). &lt;br /&gt;
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For Chinese idioms reflecting religious culture, they mainly come from Buddhism and Taoism. Confucius and Mencius are considered as saints by Chinese people. Many Chinese idioms reflecting religious culture contain &amp;quot;佛&amp;quot; (Buddha), &amp;quot;庙&amp;quot; (temple) and &amp;quot;和尚&amp;quot; (monk or bonze). For example, &amp;quot;临时抱佛脚&amp;quot; (embrace Buddha's feet in one's hour of need) which means seeking help at the last moment, &amp;quot;放下屠刀，立地成佛&amp;quot; (drop one's cleaver and become a Buddha) which means achieving salvation as soon as one give up evil (Wang Fang 2001, 35).&lt;br /&gt;
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===Chapter3 The Application of Domestication and Foreignization in Chinese Idioms' Translation===&lt;br /&gt;
In the translation of Chinese idioms, Foreignization and domestication are not mutually exclusive translation strategies. Instead, they can work together to help to produce better translations. In this chapter, the author will present specific examples of the application of these two translation strategies in Chinese idioms’ translation.&lt;br /&gt;
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====The Application of Domestication in Chinese Idioms Translation====&lt;br /&gt;
我要有个[三长两短]，你给玉山捎个话！(杜鹏程《保卫延安》)&lt;br /&gt;
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Translation: If [anything should happen] to me, let Yushan know!&lt;br /&gt;
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The meaning of &amp;quot;三长两短&amp;quot; cannot be understood from its literal words. If the idiom is translated into &amp;quot;three long and two short things&amp;quot;, the target readers will feel confused. Therefore, it's more appropriate to use domestication in the translation. Though the national feature may not be expressed in the translation, domestication makes the translation more fluent and comprehensive.    &lt;br /&gt;
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她怕[碰一鼻子灰]，话到嘴边，她又把它吞了下去。(茅盾《子夜》)&lt;br /&gt;
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Translation: She was afraid of [being snubbed], so she swallowed the words that came to her lips.&lt;br /&gt;
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The image of &amp;quot;碰一鼻子灰&amp;quot; is to have one's nose rubbed in the dirt, which is difficult for the target reader to understand what it means, so it's necessary to abandon the original image and to express its meaning to the target reader.  &lt;br /&gt;
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运涛好久不来信了，一家子[盼了星星盼月亮]。(梁斌《红旗谱》)&lt;br /&gt;
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Translation: For many months no letter came from Yuntao till his whole family [worried over him day and night].&lt;br /&gt;
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The translation gives up seeking a consistent form with the original text, instead it chooses to find a functionally similar expression to convey the emotion of the original sentence, giving the target reader the same feeling as the readers of the original text have.&lt;br /&gt;
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等他们赶来营救时，已是[正月十五贴门神——晚了半月]啦。&lt;br /&gt;
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Translation: But they were too late for a rescue.&lt;br /&gt;
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Two-part allegorical sayings (xiehouyu) are unique to the Chinese language, and are in the unique structural form with strong national characteristics. Because of the double barriers of language form and culture, translators sometimes have to abandon the unique structural form and national characteristics of two-part allegorical sayings and adopt the translation strategy of domestication, which is to only translate its meaning, and abandon the metaphor and metonymy of it.&lt;br /&gt;
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一剑剁去随手而倒。霎时觉来，乃[南柯一梦]，口中犹骂，操贼不止。(罗贯中《三国演义》)&lt;br /&gt;
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Translation: Dong Cheng cried to Cao, chopping at him with his blade. Cao crumbled in the wake of the blow, as Cheng repeated the words &amp;quot;traitor, traitor&amp;quot; until he had awoken from [the empty dream].&lt;br /&gt;
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This idiom mainly talks about that Chun Yufen had a dream of becoming a sheriff of Nanke County and living a wealthy life. However, when he woke up, he found out that it was just a dream. Later, people use &amp;quot;南柯一梦&amp;quot; to refer to a dream, or a metaphor for a happy air. The target reader who has no knowledge of the background of this idiom will have difficulty acquiring the meaning. Under this circumstance, it's a better choice to adopt domestication.   &lt;br /&gt;
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The translation strategy of domestication is to grasp the important aspect of the content and metaphor of idioms. When using domestication, the translator sometimes has to sacrifice the image and needs to combine the context to convey metaphors flexibly. One of the responsibilities of the translator is to avoid cultural conflicts leading to misunderstanding of the translation. When translating a text into another culture, the translator must carefully weigh the connotation of ideology in the culture. If the content and form expressed in the translation are within the knowledge range of the target reader's understanding of the real world, it will be easier for the reader to understand them (许建平 2004, 8).&lt;br /&gt;
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English and Chinese idioms belong to different languages ​​and are produced under different cultural backgrounds. If the foreignization translation method is overemphasized, it will increase the reader's unfamiliarity with the translation, increase the difficulty of readers' acceptance, and hinder the mutual communication and penetration between different countries and nations. Therefore, according to the national psychology of the target language, if the foreignization cannot be expressed clearly, the domestication translation strategy can be adopted so that the reader can appreciate and grasp the meaning of the original text (Chan 2004, 104).&lt;br /&gt;
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====The Application of Foreignization in Chinese Idioms Translation====&lt;br /&gt;
“他一家子在这，他的房子、地在这儿，他跑？[跑了和尚跑不了庙]。”(周立波《暴风骤雨》)&lt;br /&gt;
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Translation: &amp;quot;Escape? But his home and property can't escape. The monk may run away, but the temple can't run with him&amp;quot;.&lt;br /&gt;
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咳，这一来，[竹篮子打水一场空了]！(梁斌《红旗谱》)&lt;br /&gt;
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Translation: Ah! We were drawing water in a baboo basket.&lt;br /&gt;
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特别是她那时的“密司林佩瑶”，禀受了父亲的名士气质，曾经[架起了多少的空中楼阁]…… (茅盾《子夜》) &lt;br /&gt;
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Translation: She herself, Miss Lin Pei-yao, endowed with her scholarly father's idealistic temperament, was especially fond of [building castles in the air]...&lt;br /&gt;
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Because people's feelings, perceptions of objective things and social experiences have many similarities, there are a small number of idioms that are identical or similar in English and Chinese idioms. These idioms have the same or similar figurative meaning, and the same implied meaning, which means that the literal and figurative meanings of these idioms convey the same cultural information and can be translated into each other. The translation of &amp;quot;跑了和尚跑不了庙&amp;quot;, &amp;quot;竹篮子打水一场空&amp;quot; and &amp;quot;架起了多少的空中楼阁&amp;quot; convey the same meaning as their Chinese meaning, and the it's not difficult for foreign readers to get the information. Therefore, foreignization which is used in these three translations not only expresses the the meaning, but preserves the national and cultural characteristics of the idioms. &lt;br /&gt;
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匡超人听了这话，慌忙作揖，磕下头去，说道：“晚生真乃‘[有眼不识泰山]’。”(吴敬梓《儒林外史》)&lt;br /&gt;
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Translation: When Kuang Chao-jen heard this, he made haste to bow. &amp;quot;Although I have eyes,&amp;quot; he exclaimed, &amp;quot;I [have failed to see Mount Tai]!&amp;quot; (Translated by Yang Xianyi)&lt;br /&gt;
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In this translation, the translator preserves the image and national characteristics, directly expressing the literal meaning of &amp;quot;有眼不识泰山&amp;quot;. As China has developed rapidly, Mount Tai has been known by more and more foreigners as a famous scenic spot of China. Foreigners who get the knowledge of the mountain will not misunderstand the idiom. Thus, using foreignization makes the translation both understandable and vivid. &lt;br /&gt;
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主公仰慕将军，欲求令爱为儿妇，永结[秦晋之好]。(罗贯中《三国演义》)&lt;br /&gt;
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Translation: My master, long your admirer, seeks your treasured daughter's hand in behalf of his son to [band the two houses in marriage as the states of Qin and Jin did in ancient times].&lt;br /&gt;
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For idioms with strong national color or allusive nature, the translator can translate them with foreignization on the basis of context, and some explanations can be added in the translation to express the original meaning more clearly. The Chinese historical idiom &amp;quot;秦晋之好&amp;quot; comes from a historical allusion. When this idiom first appeared in the novel, the translator translated the names of the two vassal states by transliteration, thus retaining the differences of cultures. In order to make readers better understand the idiom, the translator also interpreted the idioms so that the meaning hidden behind the Chinese characters was much clear. Now that the English translation of the sentence is an experiment, the result of deleting &amp;quot;band the two houses in marriage&amp;quot; can be called a faithful translation, but at most it is only the faithfulness of the language form. If the former part is deleted, it will be &amp;quot;as the states of Qin and Jin did in ancient times&amp;quot;. The translation seems to convey the main meaning of the idiom, but at least in form, the extraordinary meaning of the original idiom is gone. It is a pity that &amp;quot;秦晋之好&amp;quot; lost its own meaning. On this basis we should add some annotations. &lt;br /&gt;
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Foreignization conveys information from one culture and language to another in a way that maintains its original nature, bringing not only a new component to the target language, but also an influx of such a component that will lead to various aggregation and fission reactions within the target language, which will eventually lead to its fundamental transformation. As a result, the integration of nations and peoples are greatly facilitated. The use of heterogeneous translations of idioms is conducive to the mutual exchange and penetration of two heterogeneous cultures and languages, and promotes the integration between them. Therefore, the metaphors, images and national and local colors of the original idioms are preserved in the translation as much as possible without violating the linguistic norms of the translation and without causing false associations (Liao Qiyi 2001, 58).&lt;br /&gt;
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====The Application of the Combination of Domestication and Foreignization in Chinese Idioms Translation====&lt;br /&gt;
(张飞) 瞠目大叱曰: “我哥哥是[金枝玉叶]，你是何等人 ……”(罗贯中《三国演义》) &lt;br /&gt;
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Translation: The moment Zhang Fei heard this, his eyes widened and he shouted, &amp;quot;Our brother is a prince of the blood, [a jade leaf on a golden branch]. Who are you to …&amp;quot;&lt;br /&gt;
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梁虔等曰: “夏侯驸马乃[金枝玉叶]，倘有疏虞，难逃坐视之罪。”(罗贯中《三国演义》)&lt;br /&gt;
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Translation: Liang Qian, as well as others argued, &amp;quot;Imperial Son－in－Law Xiahou Mao is [part of the royal family], the slightest negligence will be punished as willful indifference to his fate&amp;quot;.&lt;br /&gt;
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耀骂曰: “曹都督乃[金枝玉叶]，安肯与反贼相见耶! ”(罗贯中《三国演义》) &lt;br /&gt;
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Translation: Fei Yao taunted him:&amp;quot; Field Marshal Cao [belongs to the royal family]. He would not lower himself to meet a traitor&amp;quot;. &lt;br /&gt;
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The interpretation of &amp;quot;金枝玉叶&amp;quot; in the Chinese dictionary is: The golden jade metaphor the royal family and the noble people. It can be seen from the translation of this idiom in ''The Romance of the Three Kingdoms'' that the translator uses the combination of foreignization and domestication. If you completely use the method of foreignization, readers will think that Chinese people are the same in their thinking mode. If the method of foreignization is completely adopted, the reader will understand each word. But they do not understand the overall meaning, because there is no relationship between the two images of &amp;quot;金枝&amp;quot; and &amp;quot;玉叶&amp;quot;. They may speculate on the linguistic expression of these two images, because they are suppressed by the difference in the strange world, and this kind of speculation may hinder the understanding of the whole sentence. On the other hand, the more important the difference in the language culture of the original language is, the more it should be reproduced. In order to highlight the Chinese emphasis on &amp;quot;Gold&amp;quot; and &amp;quot;Jade&amp;quot;, the idiom should be completely alienated, which resulted in different translations of the three sentences of this idiom.&lt;br /&gt;
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蒙曰: “兵有利钝，战无必胜。如猝然遇敌，步骑相促，人尚不暇及水，何能入船乎?”权曰: “[人无远虑，必有近忧]。子明之见深远。”(《论语》)&lt;br /&gt;
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Translation: Lu Meng responded:&amp;quot; The fortunes of war are never constant; victory is never sure. In an abrupt confrontation, with infantry and cavalry jostling together, our men may not have time to reach the water much less board the boats&amp;quot;. Sun Quan commented, &amp;quot;[Improvidence invites danger]. Lu Meng wisely looks ahead&amp;quot;.&lt;br /&gt;
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子邓忠劝曰: “[小不忍则乱大谋]，父亲若与他不睦，必误国家大事。” (《论语》)&lt;br /&gt;
&lt;br /&gt;
Translation: Ai's son, Deng Zhong, urged him to forbear, saying, &amp;quot;[Intolerance for trifles ruins great plans]. Father, if you fall out with him, you will fail the dynasty&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
The above two famous idioms are all from the ''Analects of Confucius''. In the different translations versions, the translations of &amp;quot;人无远虑，必有近忧&amp;quot; and &amp;quot;小不忍则乱大谋&amp;quot; are also different. The word-by-word interpretation conveys the literal meaning of the idioms and is used in dialogue. The author's situation is always like this, he cannot express all aspects of the original text, and choosing one side means giving up other aspects. Observing the translations, the number of words is originally quite a lot, and the meaning is also expressed clearly enough, and there is no longer a need for domestication interpretation. To be fair, both translations are consistent with the language style of the translated text. The foreignization and domestication are balanced in the translation.&lt;br /&gt;
&lt;br /&gt;
In translation, even if every word in the original text can be translated with its &amp;quot;equivalence&amp;quot; in the translation, it is not always guaranteed that the translation will have the same or similar effect on the readers of the translated text as the original text, because readers often use their own cultural concepts to understand the content of the translated text. In some idioms, the cultural color of the original language is preserved by foreignization, but it causes linguistic errors and difficulties for readers to understand, and if we adopt domestication, we will lose the cultural color of the original language and cannot let the readers fully understand the meaning of the original. Therefore, we can adopt a combination of domestication and foreignization to translate the literal meaning and then point out the implied meaning, so that the translation can be imaginative and vivid, reflecting the style and flavor of the original language and being fully accepted by the readers (Guo Jianzhong 1998, 17).&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In the translation of idioms, domestication and foreignization are not mutually exclusive translation strategies. Instead, these two strategies can work together to make the translation better. If the expressive habits of the target language are taken into account, the cultural connotation in the source language is inevitably affected, and vice versa. From the perspective of cultural differences, excessive domestication or foreignization is not conducive to the transmission of idioms' meaning, and these two translation strategies need to be used interactively according to the actual situation (Guo Jianzhong 1998, 18). &lt;br /&gt;
&lt;br /&gt;
Firstly, the choice of domestication and foreignization is in accordance with the purpose of translation. In order to ease cultural contradictions and to make the translation both fluent and easy to understand, it is recommended to use the domestication strategy. At the same time, there are also many Chinese idioms that introduce English vocabulary through foreignization translation strategy. For example, &amp;quot;lose one's face&amp;quot; comes from &amp;quot;丢面子&amp;quot;. Many idioms can be translated using two strategies. The key depends on the translator's attitude and choice, and what needs to be achieved. The translation of Chinese idioms in the famous book ''Dream of the Red Chamber'' such as &amp;quot;巧妇难为无米之炊&amp;quot;, which the famous Chinese translator Yang Xianyi translated like this:&amp;quot; Even the cleverest housewife can't cook a meal without rice&amp;quot;. And the British sinologist David Hawkes translated it as &amp;quot;Even the cleverest housewife can't make bread without flour&amp;quot;. Yang uses a foreignization strategy to introduce eastern culture to the west while Hawkes uses domestication strategy to enhance western readers' comprehension. &lt;br /&gt;
&lt;br /&gt;
Secondly, the choice of using domesticaton and foreignization can be made on the basis of the Chinese idiom's content. Translation is a cultural exchange. Translators need to be culturally conscious, that is, to introduce the language and culture of one nation to another. If you can find the equivalent expression or the similar expression that you can directly apply, choose the foreignization translation. For example, &amp;quot;熟能生巧&amp;quot; can be directly translated as &amp;quot;Practice makes perfect&amp;quot;. When the original text and the translation cannot be translated according to cultural differences, it is necessary to replace the &amp;quot;culture of source language&amp;quot; with the &amp;quot;culture of target language&amp;quot;, and to transform the meaning to be conveyed in the source language into the cultural image familiar to the target language, such as &amp;quot;吃不了兜着走&amp;quot;. Its corresponding expression in English cannot be found, so it has to be translated as &amp;quot;be in serious trouble&amp;quot; according to its original meaning. &lt;br /&gt;
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Last but not least, the combination of domestication and foreignization is necessary in translating Chinese idioms. It is not enough to use just one translation strategy to retain the cultural characteristics of the idioms, but also to convey the meaning. If the translation also wants to be accepted by readers of the target language, it is not enough to use a certain translation strategy. The translator needs to combine two strategies to do the translation. For example, &amp;quot;三十六计，走为上策&amp;quot;. If the translator only uses the foreignization translation strategy to translate it, the translation of this idiom will be like &amp;quot;Of the thirty-six strategies, the best is running away&amp;quot;. Although the culture in the original text is retained and the literal meaning is also expressed, its implicit meaning is not reflected. At this time, it is indispensable to supplement the domestication translation like &amp;quot;as you have no better choice&amp;quot;. Only in this way can the translation be more complete.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Schleiermacher, Fredrich. (1838/1963). &amp;quot;Ueber die verschiedenen Methoden des Uebersezens&amp;quot;, in Hans Joachim Störig (1963) ''Das Problem des Übersetzens'', Darmstadt: Wissenschaftliche Buchgesellschaft [Wege der Forschuung Band VIII], 38-70.&lt;br /&gt;
&lt;br /&gt;
*Schleiermacher, Fredrich. (1838/1977). &amp;quot;On the Different Methods of Translating&amp;quot;, in André Lefevere (ed. &amp;amp; trans.) (1977) ''Translating Literature: The German Tradition from Luther to Rosenzweig'', Assen &amp;amp; Amsterdam: Van Gorcum, 66-89. [Translation of Schleiermacher 1838/1963].&lt;br /&gt;
&lt;br /&gt;
*Schulte, Rainer &amp;amp; Biguenet, John. (1992). ''Theories of Translation''. Chicago: The University of Chicago Press.&lt;br /&gt;
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*Nida, Eugene. A. (1993). ''Language, Culture, and Translaing''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Chan, Leo Tak-hung. (2004). ''Twentieth-Century Chinese Translation Theory''. Amsterdam: John Benjamins Publishing Co.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark &amp;amp; Cowie, Moira. (2004). ''Dictionary of Translation Studies''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili 孙致礼. (2002). 中国的文学翻译：从归化趋向异化 [Literary Translation in China: From Domestication to Foreignization]. ''中国翻译'' Chinese Translators Journal (01) 40-44.&lt;br /&gt;
&lt;br /&gt;
*Hanks, Patrick.(ed.). (2001). ''The New Oxford Dictionary of English''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Dictionary Editorial Office, Institute of Linguistics, Chinese Academy of Social Sciences 中国社会科学院语言研究所词典编辑室. (2002). ''现代汉语词典'' [Modern Chinese Dictionary]. Beijing: The Commercial Press 商务印书馆.&lt;br /&gt;
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*Qiu Nengsheng, Qiu Xiaoqin 邱能生, 邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation]. ''上海翻译'' Shanghai Journal of Translators (01) 51-56.&lt;br /&gt;
&lt;br /&gt;
*Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Foreignization and Domestication in the Translation of Idioms]. ''语言与翻译'' Language and Translation (02) 42-45.&lt;br /&gt;
&lt;br /&gt;
*Zhang Ning 张宁. (1999). 英汉习语的文化差异及翻译 [Cultural differences and Translations between English and Chinese idioms]. ''中国翻译'' Chinese Translators Journal (03) 03-05.&lt;br /&gt;
&lt;br /&gt;
*Wang Fang 王芳. (2001). 中英习语翻译文化特色的处理 [The Treatment of Cultural Features in Chinese-English Idiomatic Translations]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal (01) 34-36.&lt;br /&gt;
&lt;br /&gt;
*Xu Jianping 许建平. (2004). ''英汉互译实践与技巧'' [A Practical Course of English-Chinese and Chinese-English Translation]. Beijing: Tsinghua University Press 清华大学出版社.&lt;br /&gt;
&lt;br /&gt;
*Liao Qiyi 廖七一. (2001). ''当代英国翻译理论'' [Contemporary Translation Studies in UK]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
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*Guo Jianzhong 郭健中. (1998). 翻译中的文化因素：异化与归化 [Cultural Factors in Translation: Foreignization and Domestication]. ''外国语（上海外国语大学学报）'' Journal of Foreign Languages (02) 12-18.&lt;br /&gt;
&lt;br /&gt;
= '''Title Translation''' =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study on the Translation of Movie Titles	陈惠	Chen Hui==&lt;br /&gt;
陈惠  Chen Hui  No.202020080592  专业：英美文学--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 03:52, 15 December 2020 (UTC)Chen Hui&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Film is a comprehensive art integrating vision and hearing, which has made great contributions to the transnational communication and integration of culture. The title is an important factor in a movie's appeal to the public. Therefore, the translation of movie titles is of vital importance. The translation should not only fit the film content but also cross cultural differences. Moreover, it has strict word count control, which makes it difficult to translate literary works with relative freedom and high requirements. &lt;br /&gt;
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This paper will analyze the current situation of film title translation, try to summarize the features and functions of film title translation, put forward the criteria and principles of film title translation, and briefly discuss the strategies of film title translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Features of film titles. Translation criteria, translation principles, translation strategies.&lt;br /&gt;
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===摘要===&lt;br /&gt;
电影是一门集视觉和听觉为一体的综合性艺术，为文化的跨国传播和融合做出了巨大的贡献。电影标题正是电影吸引大众眼球的重要因素。因此电影标题的翻译就显得至关重要。其译文既需贴合电影内容又要跨越文化差异，并且有严格的字数控制，难以像文学作品翻译那样相对自由，要求极高。本文将分析目前电影名翻译的现状，试图总结电影片名的特点和功能，提出电影片名翻译的标准及原则并浅谈电影标题翻译的策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
电影片名特点，翻译标准，翻译原则，翻译策略。&lt;br /&gt;
===Chapter1 Introduction===&lt;br /&gt;
As one of the eight major arts, film is an important carrier of world cultural exchange, bearing specific cultural symbols. The translated names of films reflect different ways of dealing with foreign cultures and convey different cultural values. This paper released in mainland China and Hong Kong and Taiwan area's English movie, for example, from the political system, economic environment and language habits, this paper analyzes the reasons of different film title translation, points out that the different cultural values, dubbing staff of different translation strategies.&lt;br /&gt;
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And in order to meet the requirement of the local culture market, cross-cultural differences should be important factors should be taken into consideration when the translation practice.&lt;br /&gt;
With the increasingly close cultural exchanges between China and foreign countries, English films, as an important cultural form, have gradually entered the Stage of Chinese films, which inevitably involves English-Chinese translation. In English-Chinese film translation, film title translation plays a very important role.&lt;br /&gt;
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Han Su said that “A good title translation can not only add to the film, but also help Chinese and Western films to go out and bring in better, and promote cultural exchanges and communication.” (Han,2018,P95).In order to translate high-quality film titles into Chinese, it is necessary to have an accurate understanding of the characteristics, translation principles and translation strategies of film titles.&lt;br /&gt;
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===Chapter2 Movie: A kind of Art===&lt;br /&gt;
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====2.1 The Introduction of Movie====&lt;br /&gt;
Film is a comprehensive art integrating vision and hearing, which has made great contributions to the transnational communication and integration of culture. Yang Shu said that :“Different from other art categories, film is an emerging art form formed with modern technology and has its own ontological characteristics.”(Yang Shu, 2017, P78)).The title of the film is an important factor in its appeal to the public. Therefore, the translation of movie titles is of vital importance. The translation should not only fit the film content but also cross cultural differences. &lt;br /&gt;
&lt;br /&gt;
Moreover, it has strict word count control, which makes it difficult to translate literary works with relative freedom and high requirements. This paper will analyze the current situation of film title translation, try to summarize the characteristics of film title translation and the principle of film title translation, and to talk about the strategies of film title translation. Film, a continuous image developed by the combination of mobile photography and slide show, is a visual and auditory modern art, but also a complex of modern technology and art that can accommodate drama, photography, painting, music, dance, writing, sculpture, architecture and other arts.&lt;br /&gt;
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Cinema is a visual art that simulates the experience of communicating ideas, stories, perceptions, sensations, beauty, or atmosphere through recorded or programmed moving images and other sensory stimuli. The term cinematography is short for cinematography, usually used to refer to filmmaking and the film industry, as well as the art form that emerges from it. Films are cultural relics created by a particular culture. They reflect these cultures and influence them. Film is regarded as an important art form, a source of popular entertainment and a powerful medium for educating citizens. &lt;br /&gt;
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The visual basis of a film gives it universal power of transmission. The film has its own characteristics. In terms of artistic expression, it not only has the characteristics of all kinds of other arts, but also has the means of expression beyond all other arts because it can use the artistic montage of the film grouping skills. With the development of modern society, movies have penetrated into every aspect of human social life and become an indispensable part of People's Daily life. Film is an art whose time and course of growth are known by human beings. &lt;br /&gt;
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It is a media with rapid development and great influence since the 20th century. It is also a creative industry integrating politics, economy and culture. Since the end of the 19th century, France, the United States and other parts of the film inventors have invented can mimic a person's eyes and ears of photoacoustic records and reduction technology and machine, the film technology, from the birth, were entrepreneurs become film business, by politicians become ideology, by artists become film art, researchers developed into film theory. &lt;br /&gt;
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The history of a film is also the history of filmmakers exploring the laws of film. Film is a kind of modern art which uses modern scientific and technological achievements as tools and materials, and uses the means of expression to create visual images and the combination of shots. In the space and time of the screen, it shapes the specific images that are moving, sound and painting combined, and lifelike, to reflect social life.&lt;br /&gt;
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The film can accurately &amp;quot;restore&amp;quot; the real world, &amp;quot;show&amp;quot; the virtual world, giving people a sense of authenticity, a sense of intimacy, just like being on the scene. This feature of film can satisfy people's desire to experience life in a broader and more real way. Movies can be divided into action movies, fantasy movies, comedy movies, horror movies, science fiction movies and so on.&lt;br /&gt;
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====2.2 Features of English Film Title====&lt;br /&gt;
On the one hand, a film title is an art form, reflecting the literary value of a film; on the other hand, it is linked with the box office, reflecting the commercial value of a film. Therefore, a film title directly affects the success of a film. English movie titles have the following characteristics.&lt;br /&gt;
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(1) The title is easy to understand and arouses the audience's interest. This is contrary to the characteristics of Chinese movie titles. Some Chinese movie names are not introduced by media, which makes it difficult for the audience to have a clear understanding of the movie in advance, such as The Promise and Infernal Affairs. Movie titles in English are often simple, but they have a profound effect on the audience's enthusiasm. For example, True Lies, the movie's title tells you that the movie is about a lie, but what kind of a lie is a &amp;quot;True lie&amp;quot;? When the audience sees the name of the movie, they will first have such doubts in their minds, and then watch the movie with doubts and curiosity. There are plenty of similar movies, such as Back to the Future.&lt;br /&gt;
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(2) The title contains slang to enhance the appeal of the film.The title of the film incorporates slang, on the one hand, to make the audience feel friendly, on the other hand, to achieve the desired ironic effect of the film. One Flew over the Cuckoo's Nest, and at that very moment, the Cuckoo's Nest Flew very slowly. &amp;quot;Slumdog,&amp;quot; for example, is a slur for someone who lives in a Slumdog. The other way around is to be sarcastic. The other way around is to be sarcastic.&lt;br /&gt;
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(3)The title of the film is named after the name, which is clear at a glance.Names of people, places, objects and places often appear in the titles of European and American films, such as Pearl Harbor. As long as you have some historical knowledge, it is not difficult to know the content of the film, which is obviously related to the Pearl Harbor incident during the Second World War. In addition, there are also Casablanca, Roman Holiday, Waterloo Bridge(Waterloo Bridge) and other famous films with place names as film titles.&lt;br /&gt;
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People like Forrest Gump, which is clearly the main story in the film, but also Emma, Jane Eyre, etc. It's about a Perfume genius who's obsessed with Perfume and becomes a psychopath. It's also about The Piano and The Net. In addition, there are one case, is to add in the title of the character (place or items) characteristics. For example, Edward Scissorhands, Schindler's List, The Mask of Zorro, etc.&lt;br /&gt;
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(4) The title contains numbers to indicate the plot.Numbers appear frequently in English movies, and they are real rather than imaginary. In this kind of naming, the numbers in the title will appear in the play, either directly spoken by the characters, or the numbers-almand-or explained gradually through the plot. This may be related to the fact that westerners pay more attention to objectivity and practicality, and think more straight lines. The famous film with numbers included in the title has Seven Deadly Sins(&amp;quot; Seven Sins &amp;quot;). &lt;br /&gt;
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According to the title, it can be associated with the Seven Deadly Sins of the Bishop. The mysterious serial murders in the film are one of these Seven Sins, so the title gives a good hint to the audience. Eleven tells the story of Eleven skilled dodgers.Heart completes a breathtaking mission story; Six Days and Seven Nights a man crashes in a plane and lands on a desert island for Six Days and Seven Nights. In addition, there are also Twelve Angry Men, The Six Sense, Eight LeggedFreaks and so on.&lt;br /&gt;
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These are the characteristics of British and American film titles, we can see that they value simplicity. Due to cultural differences, most Chinese film titles have deep meanings and reveal rich cultural heritage, such as Farewell My Concubine, A Thousand Miles Away, Curse of the Golden Flower and so on. Therefore, foreign films should attach importance to the translation of film titles in order to enter the Chinese market. How to arouse the resonance of Chinese audience's aesthetic appreciation requires the translator to pay attention to aesthetic factors in the translation of movie names.(Lin Wen, 2015)&lt;br /&gt;
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====2.3 Functions of English Film Title====&lt;br /&gt;
The British translation theorist Newmark believes that language has six functions: the function of expression, the function of information, the function of demanding, the function of beauty, the function of responding, and the function of meta-language. Among them, the first four are the main ones. The title of a film is a proper noun, which is the product of the screenwriter's careful conception. It can not only highly summarize the theme or content of the film, but also strongly stimulate the reader's desire to watch it. Therefore, it mainly has information function, imperative function and aesthetic function. &lt;br /&gt;
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In film title translation, BaoHui south thinks &amp;quot;should not only conform to the language specification, but also full of artistic charm, as well as the content of the faithful to the original title, and to reflect the language characteristics of formerly, strive to achieve the art to create&amp;quot;, wants be particular about &amp;quot;mass, popularization, colloquial and artistic quality&amp;quot;, &amp;quot;to be able to have very good guide depending on and promotion effect&amp;quot;. The author believes that the film title has five functions: 1) Suit the content of the original film, reflect the theme of the original film, help the audience better understand the original film, highlight the style of the original film.&lt;br /&gt;
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2) Concise and comprehensive, easy to remember.&lt;br /&gt;
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3) Set the emotional tone of the film, and infect the audience with strong lyric, thrilling or dramatic atmosphere.&lt;br /&gt;
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4) It conforms to the language norms of Chinese and is suitable for the appreciation habits of Chinese audiences.&lt;br /&gt;
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5) Attract audience and increase box office income. Therefore, the theoretical support for film title translation is not the traditional translation theory centered on &amp;quot;faithfulness to the original author or the original text&amp;quot;, but the unified equivalence with the original title in language, cultural information and functional characteristics.(Newmark,1958).&lt;br /&gt;
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===Chapter3 Analysis on Movie Title Translation===&lt;br /&gt;
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====3.1 Current Study of Movie Title Translation====&lt;br /&gt;
With the rapid development of China's society and the improvement of the openness of the country at all levels, more and more foreign films have entered China, giving Chinese audiences different visual and spiritual cultural feast. At times, however, the translation of movie titles has left audiences baffled. Due to the vast territory of China, the same English movies are sometimes translated differently under the cultural background of the mainland, Taiwan and the three places, making it difficult for people to judge the same movie from the name of the translated movie. &lt;br /&gt;
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For example, Gone with the Wind is translated in Mainland China, while Gone with the Wind is translated in Hong Kong and Taiwan. For example, in Cantonese, &amp;quot;slam-dunk&amp;quot; is called &amp;quot;Thun&amp;quot;, while in Mandarin it is &amp;quot;slam-dunk&amp;quot;. Therefore, the movie Space Jam has been translated into &amp;quot;Thun in Space&amp;quot; and &amp;quot;Slam-Dunk in the Air&amp;quot;. Due to different pronunciations, the translation of movie names will also be different. For example, the classic film Titanic was translated into the Hong Kong version of &amp;quot;Titanic&amp;quot; and &amp;quot;Titanic&amp;quot;, but the latter is better known.&lt;br /&gt;
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Influence of commercial interests More and more films are driven by commercial investment. In order to win high box office, eye-catching words are often added to the title of the film in translation to make the audience shine. For example, in the film Leon, merchants translate it into Leon in order to pursue a better box office. In fact, it is also possible to translate it into Leon, but it lacks the thriller of the former, so it cannot better attract the audience. There's another movie, The Mask, for example. The Mainland version is The Mask, while The Taiwan version is The Modern Saint.&lt;br /&gt;
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The former is more convincing and mysterious, and The translation is better.Random translation is quite common in Hong Kong. The so-called random translation refers to the translation of the name without the content of the film, imaginary, unrestrained, full of exaggerations, suspense, with only one purpose, is to attract audiences. For example, &amp;quot;Fair Came&amp;quot; was translated into Chinese by Hong Kong and translated into Chinese as &amp;quot;Fair game&amp;quot;. The film tells the story of Kitty, who was originally a lawyer in miami-famous family firm, who woke up and suddenly became a target of Soviet spies, facing death threats all the time. It was hard to see how Kitty could be called a witch from beginning to end. &lt;br /&gt;
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Hong Kong translations (1995) and mainland Chinese translations of &amp;quot;Shawshank Redemption&amp;quot;. The story takes place at the beginning of 1947, banker Andy is wronged and imprisoned. Facing the unfair fate, Andy can show not pleased by external gains, not saddened by personal losses and silently construct his own future. It is not clear where 1995 came from in the Hong Kong translation, and the word &amp;quot;stimulus&amp;quot; does not match the content of the film. From the perspective of translation, translation has made big fear of translation standards, even the most basic of faithful to the original works and &amp;quot;letter&amp;quot; to the cause for the current more than a translation, the chaotic translation for the current situation.&lt;br /&gt;
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In addition to our regional factors mentioned above, a local translation characteristics, the mass media have unshirkable responsibility. As a mass media, newspapers, magazines, films, radio and television do not pay attention to the use of standardized translation of the name, which leads to the further deterioration of the phenomenon of film translation one translation. In addition, in order to pursue business profits, translator and even from The film content, subjective themselves, exaggerated exaggerated, use some stimulus, poignant words to attract audience attention, no bridge &amp;quot;, and &amp;quot;candle&amp;quot; two characters.&lt;br /&gt;
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The tragic fate of The film, The heroine, consider translation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, such as Hong Kong and Taiwan to Hemingway's masterpiece The Sun Also Rises &amp;quot;The Sun Also Rises&amp;quot; translation &amp;quot;concubine is chaoyang and zhao jun, and formerly known as and simply goes and The original content.(Song Yanlan, 2017)&lt;br /&gt;
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====3.2 Standarding Movie Title Translation====&lt;br /&gt;
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=====3.2.1  Ways to Standard=====&lt;br /&gt;
Facing the current situation of film title translation, how should we regulate the translation of film title? I think there are several ways to look at it. From the perspective of the translator, the translator should accurately grasp the original content, want to reaction and its creation and works reflect the major theme of background, this can help the translator vividly grasp accurately the original content, understand the formerly known as connotation, translation with the original content, to maximize the reappearance of formerly known as information, make the translation really play a guide role. &lt;br /&gt;
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Such as film, A Walk in the Clouds, title literally &amp;quot;go&amp;quot; in the cloud, which describes A youth couple of vine flowers in the loving touching love story, also the garden it is translated into &amp;quot;to Walk through the Clouds,&amp;quot;, reflects both the original meaning, and full of poetic, leave the audience with fragrant vineyard, fascinating intoxicating refreshing romantic breath. The translator should also be in accordance with the original, pay attention to the using a variety of translation method is flexible, should not only respect the formerly known as film, also considering the cultural differences, adopt the appropriate expression, proper free translation of some of the titles, appropriately express the original information, should not only to retain the original western style.&lt;br /&gt;
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And to consider domestic audience's comprehension and language habits, considering the cultural differences. Some titles can be translated literally, simply and clearly to convey the information of original titles, such as Sindler's List translated into Schindler's List,Back to the Future translated into Back to the Future, etc. Some titles require free translation. For example, the novel Cone Wih the Wind is translated as &amp;quot;Gone with the Wind&amp;quot; with literal translation, but the film's translation of &amp;quot;Gone with the Wind&amp;quot; is more attractive.&lt;br /&gt;
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&amp;quot;Troubled times&amp;quot; tells the background of the story, &amp;quot;Beautiful Woman&amp;quot; points out the heroine of the film, which -- the translated title vividly shows the heroine Scarlett's rough experience in the war years, which can fully attract the audience's attention. Waterloo Bridge, literal translation is &amp;quot;Waterloo Bridge&amp;quot;, see the translation, the audience will first think of the battle of Waterloo, napoleon, but the film describes not smoke of the battlefield, but sad love story, the symbol of the combination of Chinese folk story &amp;quot;the blue Bridge&amp;quot;, the translator skillfully as a &amp;quot;blue use some stimulus, poignant words to attract audience attention, no Bridge&amp;quot;, and &amp;quot;candle&amp;quot; two characters, the film highlighted the tragic fate of the heroine.(Yao Dongyu, 2016)&lt;br /&gt;
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=====3.2.2 The Criteria for Movie Title Translation=====&lt;br /&gt;
As for the criteria of translation,Yan Fu, a famous modern translator, put forward the criteria of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Letter “is for the original text, requires the translator to correctly understand the original text, faithful expression of the original thought, style, inside” is for the translation, and requires to use fluent and easy to understand the speech, but on the elegant &amp;quot;, but there is no consensus. King explained the concept from three aspects: receiver concept, effect concept and equivalence concept. &lt;br /&gt;
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As for the concept of effect, he pointed out that, after clarifying the effect of information on the receiver, it should be emphasized that it should include the full effect of information, namely the thorough understanding and feeling obtained by the receiver. Includes main spirit, concrete fact, artistic conception atmosphere three main elements. In the translation practice of the film title, Jin Ti said that because of different language changes are bound to cause changes in the language effect, so only from the effect of the translation, to determine whether the language is appropriate. &lt;br /&gt;
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Taking this as the standard, the translated name should try to achieve the equivalence of spirit, fact and artistic conception in sound, shape and meaning, that is, the relationship between the recipient and the translated message should be basically the same as that between the recipient and the original message &amp;quot;(Nida, CF King: 1998).&lt;br /&gt;
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====3.3 The Principles of Movie Title Translation====&lt;br /&gt;
Although the translation of film titles has its particularity, it is not distinct from the translation of other genres, but has something in common. In terms of its translation process and results, the author believes that it should be mainly reflected in the following two principles :1. Principle of Economic Benefit Liu Miqing (1999,P49) pointed out that since the content contained in the original language is worthy of translation (i.e., it has social benefits), the conversion should be realized by the target language that is acceptable to the society, instead of being restricted by the readability of the original language. &lt;br /&gt;
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It is also said that social benefits are the yardstick by which the meaning of translation, the quality of translation and the value of translation are tested &amp;quot;(1999,P48). He puts forward three principles, among which the readability principle of the target language plays a guiding role in title translation. When the readability of the source language is very good, it can convert all the formal meaning and stylistic meaning of the source language into the target language correspondingly...&amp;quot;.  In Hong Kong, for example, Saund ofMusic has been translated as &amp;quot;floating in the sky&amp;quot; and in Taiwan as &amp;quot;truth, goodness and beauty&amp;quot;, which leaves the audience puzzled.&lt;br /&gt;
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Since then, the film has been widely accepted as &amp;quot;the sound of music&amp;quot; by Chinese mainland translators. 2. Principles of Cultural Characteristics Translation with cultural characteristics is considered to be one of the most difficult to translate. &amp;quot;As for culture-specific&amp;quot;, translation theorist Baker(2000, p64) said that the words of the target language may express a concept that is completely unknown to the culture of the target language, which may be abstract or concrete and may be related to religious beliefs, social customs or even certain things.&lt;br /&gt;
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This shows the difficulty of cultural translation. The film is the director's reflection of the real or virtual life, and the title that reflects the content of the film also naturally contains many cultural factors, making it difficult to translate. There are various ways to embody cultural connotation, such as cultural words and idioms. &amp;quot;First Blood” for example, is an idiom meaning &amp;quot;first to win a battle&amp;quot;, but always translated as &amp;quot;the first drop of blood&amp;quot;.&lt;br /&gt;
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===Chapter4  Ways of Movie Title Translation===&lt;br /&gt;
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====4.1 Literal Translation====&lt;br /&gt;
literal translation - simple and clear, to the literal translation is carried out in accordance with the literal meaning to translation, translation is not to add or increase or decrease, achieve unity, so as to convey sincerity buy primitive thoughts, reflects the primitive expression of the style of work, even done very well, otherwise the translation will lose the essence of the original. Nowadays, more and more audiences like original films. Excellent film translations retain their own unique labels while promoting films. Although there is no gorgeous translation of words, they are insipid yet mysterious. &lt;br /&gt;
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For example, a film about psychology, Beautiful Mind, which the translator translated directly into &amp;quot;A Beautiful Mind&amp;quot;, without adding any other elements, makes people have a calm and mysterious feeling towards this film. There is also a film about the Sniper in Iraq war, American Sniper, which the translator directly translated into American Sniper. When people see the title, they can clearly know what subject this film is about. There is no gorgeous language, but it goes straight to the theme without losing the original meaning.(Zhou Baoxue, 2013)&lt;br /&gt;
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====4.2  Free Translation====&lt;br /&gt;
Free translation -- in a similar situation, free translation with cultural characteristics is translated in accordance with the general idea of the original text, instead of word for word translation, which can be applied in the context of huge cultural differences between the original language and the target language. There is a classic work by Nicolas Cage called &amp;quot;Face Off&amp;quot;. Some translators have translated it into &amp;quot;Face Off&amp;quot; or &amp;quot;Face Off&amp;quot;. Both translations are free translation, not literal translation. The advantage of this is that it not only expresses the meaning of the English title, but also conveys the content of the film. &lt;br /&gt;
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When English films encounter Chinese culture, they need to be adjusted appropriately, so that the film name can quickly enter people's lives and let people quickly understand the general content of the film on the basis of highlighting the theme and with local cultural characteristics. Such as a movie starring Tom Hanks was called Catch Me If You Can, translation version did not directly translated into &amp;quot;If You Can Catch Me, but according to the four words idioms in Chinese habit and common cultural features translated into&amp;quot; cat and mouse game &amp;quot;or&amp;quot; free &amp;quot;, the two translation versions are make good use of the four words idioms, injected with Chinese cultural characteristics, and highlight the theme, let the people You'll never forget.(Yang Huhong, 2006)&lt;br /&gt;
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====4.3 Transliteration====&lt;br /&gt;
Transliteration means to translate according to the English pronunciation and find the corresponding Chinese words, which is more intuitive and lets people remember the name of the movie. Even if English is not well spoken, foreigners can still understand it through the corresponding Chinese translation, which promotes cultural exchange. Milk, for example, translates directly into Milk. There are Avatars, Juno and so on, which keep the original flavor of the original films.(He Ying, 2001)&lt;br /&gt;
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====4.4 Amplification and Omission====&lt;br /&gt;
Amplification and provincial translation -- to highlight the features of the film and keep close to the theme, amplification or provincial translation refers to adding or reducing the corresponding information on the original basis to achieve the function of better information transmission, so as to make the name of the film more representative and play the role of advertising.&lt;br /&gt;
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 So for example, the movie, instead of making it literally Interstellar, you make it into Interstellar, you make it into Interstellar, so that you have a better way of talking about what the movie is about. -Two. There's also How to Train Your Dragon. Instead of being translated into how to tame your dragon, the translator reduced it to How to Train Your Dragon.(Jin Ti, 1997)&lt;br /&gt;
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====4.5 Naturalization====&lt;br /&gt;
Domestication method is adopted in the translation of English film titles to avoid literal translation, which would make the Chinese translation of film titles impossible for Chinese audiences to understand the theme and cultural connotation of the film. This translation strategy aims to make the translated title conform to the cultural psychology and aesthetic standards of Chinese audiences, adapt to the difficulty of public understanding, give the audience an intuitive and preliminary understanding of the film content, and stimulate their interest in watching the film. &lt;br /&gt;
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Cleopatra Cleopatra was the last queen of the Ptolemaic Dynasty of Egypt, one of the first sovereigns of Alexander the Great after his conquest of Egypt. Legend has it that Cleopatra was beautiful and intelligent. She was close to Caesar and Antony, politically adept, involved in the politics of the end of the Roman Republic, ambitious, and a legendary Egyptian queen. There is no doubt that Cleopatra was a central figure in ancient Egypt, and her anecdotes about Her relationships with Caesar and Antony made her a famous figure in literature and art. This is the story of Cleopatra, the 52-year-old Caesar who came to Egypt as a Roman governor to settle a royal contest between Cleopatra, the Ptolemaic dynasty, and her half brother Ptolemy XIII.&lt;br /&gt;
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 Cleopatra quickly conquered Caesar with her charm of courage and political skill, gaining control not only of the Ptolemies in Egypt, but of Rome as well. The son of Cleopatra and Caesar was made heir, but Antony and Octavian were not satisfied. After Caesar's assassination, Antony took over the REINS of Rome and was also conquered by Cleopatra. If the title of the English movie is literally translated into Chinese as Cleopatra, Chinese audiences who are not familiar with Egyptian history will lose interest in watching it. Compared with the literal translation of Cleopatra, the domestication strategy can be used to translate Cleopatra to achieve the commercial purpose of attracting audiences' interest, and at the same time, the audience can understand the theme of the film more intuitively, so as to achieve the purpose of promoting the cultural transmission.(Wu Shuang, 2005)&lt;br /&gt;
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====4.6 Foreignization====&lt;br /&gt;
In the translation of English film titles, foreignization should try to keep the expression habits and cultural characteristics of the original titles, bring the audience into the English language and culture, let the audience experience an unprecedented exotic amorous feelings, and maximize the dissemination of English language and culture. Zeng Qinyu thought domestication and foreignization can be regarded as the extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation.&lt;br /&gt;
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The Hollywood film Titanic tells the touching love story between rose, a rich girl, and Jack, a poor boy painter, when the luxury liner Titanic collided with an iceberg and sank. On April 15, 1912,Titanic set sail from Southampton, England, carrying more than 1,000 passengers and more than 800 crew members, bound for New York. But unfortunately it collided with an iceberg and sank. When the wreck was found on the bottom of the sea in 1985, there was a portrait of a teenage girl on the cabin wall, and Rose, who was 102 at the time, claimed to be the girl. The original Rose because her fiance Carl is a snob and do not want to marry him, when ready to throw himself into the sea, was Bohemian poor painter Jack save. &lt;br /&gt;
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Rose fell in love with jack, a cheerful character. As a witness of love, Jack drew a portrait for Rose. Not long after that, the ship hit an iceberg and began to sink. In the critical moment of life and death, Jack left the chance of life to Rose, he was frozen to death in the cold sea. In the translation of the film title, alienation strategy was adopted, literally translated as Titanic. This translation strategy was consistent with the understanding and acceptance level of Chinese audiences, loyal to the social and cultural life of English-speaking countries, and retained the form and content of the original English title to the greatest extent.(Zeng Qinyu，2020)&lt;br /&gt;
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===Chapter5 Conclusion===&lt;br /&gt;
Film is a comprehensive art. The translation of film titles should not only follow certain principles and methods of translation, but also have rich cultural knowledge and solid language skills. The title translation is not a simple and mechanical arrangement. It needs to consider the similarities and differences between Eastern and Western cultures and the acceptability of translation according to the content of the film, so that it not only conveys the message of the film, but also is full of beauty.&lt;br /&gt;
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Therefore, translators should not only be familiar with the ways of language expression and conversion, but also have a profound cultural awareness. On the basis of in-depth understanding of the cultural information conveyed by the title, translators should understand the content and style of the film, try to understand the wording and try to accurately grasp the surface meaning and associative meaning of the source language and the target language. &amp;quot;I was a standup, I was at the tenth month of October&amp;quot;, I translated the title of the film with a rigorous attitude, and only by carving and chiselling can I achieve a classic translation that enjoys universal popularity.(Yang Shu, 2017)&lt;br /&gt;
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===References===&lt;br /&gt;
[1]Eugene A. Nida. Toward a Science of Translating. Shanghai Foreign Language Education Press, 2004.&lt;br /&gt;
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[2]Jin Ti. Equivalent Translation Exploration. Beijing: China International Translation and Publishing Company, 1997.&lt;br /&gt;
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[3]Han Su. Comparison between English and Chinese Version in Film Title Translation. Journal of Chifeng University.2019(03):101-103&lt;br /&gt;
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[4]He Ying. Theory and method of Film Title Translation. Foreign language Teaching, 2001 ,(01):56-60.&lt;br /&gt;
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[5]Lin Wen. Cultural Identity and Translation of English Film Titles. Guizhou Normal University,2016.&lt;br /&gt;
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[6]Liu Miqing. Contemporary Translation Theory. Beijing: China International Translation and Publishing Company, 1999.&lt;br /&gt;
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[7]Lu Hui. Brief analysis of English Film Title Translation. Huashang. 2008(06):68.&lt;br /&gt;
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[8]Song Yanlan. Common Chinese Cultural Factors in English Film Title Translation -- Take 50 films for example. Liberal arts navigation. 2017(04):22-24.&lt;br /&gt;
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[9]Yao Dongyu. Journal of Liao Ning Institute of Science and Technology,2016.&lt;br /&gt;
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[10]Yang Hu Hong. On several Translation Methods of Film Title Translation. Anhui Literature, 2006.&lt;br /&gt;
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[11]Yang Shu. Narrative Studies of Mainland Chinese Films Since the New Era. Shandong Normal University. 2017.&lt;br /&gt;
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[12]Zen Qingyu. A Brief analysis of domestication and Foreignization of English Film Title Translation. Science and Education Guide. 2020(05):25-26.&lt;br /&gt;
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[13]Zhou Baoxue. A Brief Analysis of the Principles and Methods of English Film Title Translation. Science and Education Literature Review. 2013(08):149-150.&lt;br /&gt;
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==  A Study on Movie Titles Translation from the Perspective of Skopos Theory 罗雨晴 Luo Yuqing   Student No.202070080601   英语笔译 ==&lt;br /&gt;
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&amp;lt;center&amp;gt;罗雨晴	Luo Yuqing No.202070080601&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
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With the continuous advancement of globalization, more and more foreign films are introduced into China continuously. China's film market is huge and Watching films has become a popular way of entertainment for Chinese. Various kinds of films emerge in endlessly so that film titles are particularly important. The film title is the eye of the film, the highlight and essence of a film. A good film title can successfully attract people's attention, stimulate the desire to watch, and bring them into the cinema, which is the purpose of English film title translation. From the perspective of Skopos Theory, this paper will analyze the characteristics and functions of film titles, all kinds of existing translations, and puts forward some translation methods of English film titles, hoping to be helpful to the translation of film title translation.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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 English film title translation; Skopos Theory; translation methods&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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随着全球化进程的不断推进，越来越多的外国电影源源不断地涌入中国，中国电影市场巨大，看电影已成为一种广受欢迎的娱乐消遣方式，各种电影层出不穷，因此电影片名就显得尤为的重要。电影片名是电影的眼睛，是一部电影的亮点与精华所在。一个好的电影名可以成功吸引人的眼球，激发大众观看欲望，将大众带入电影院。而英语电影片名的翻译目的就在此。本文主要将从目的论的视角出发，分析电影片名的特点与作用，对各种现有译名的进行分析，就此提出一些英文电影片名的翻译方法，希望能对电影片名的翻译工作有所帮助。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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英语电影片名翻译； 目的论;  翻译方法&lt;br /&gt;
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==='''Chapter1 Introduction'''===&lt;br /&gt;
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A film is like a book with pictures and sound. When reading books, we will imagine the scenes described in the books, while words in book will be presented in the form of images and sound in film. Most of films last about two hours. In these two hours, we can get in touch with something we are not familiar with in a relaxed way. Film brings us a variety of visual, auditory and other sensory pleasure. It is not only a way of entertainment, but also an important medium to spread culture. With the rapid development of economy, people pay more and more attention to the quality of life and cultural exchanges between different countries are closer than before. A large number of foreign films are pouring into China, trying to get a share of the Chinese market. Although there are close cultural exchanges, there are still cultural differences between China and the West. Therefore, the translation of film titles after the introduction of foreign films into China is very important. Although the translation of film titles seems to be a small project, it is not so easy to translate them well and to the point to let people can't wait to see the whole film. It is self-evident that the film title is the essence of a film. It not good enough to accurately summarizes the contents of the film, to attract the audience. The quality of the film title directly affects its dissemination in China, and its importance is self-evident. （Ma Yuanyuan，2010,1-5）&lt;br /&gt;
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A film is like a book with pictures and sound. When reading books, we will imagine the scenes described in the books, while words in book will be presented in the form of images and sound in film. Most of films last about two hours. In these two hours, we can get in touch with something we are not familiar with in a relaxing way. Film brings us a variety of visual, auditory and other sensory pleasure. It is not only a way of entertainment, but also an important medium to spread culture. With the rapid development of economy, people pay more and more attention to the quality of life and cultural exchanges because different countries are closer than before. A large number of foreign films are pouring into China, trying to get a share of the Chinese market. Although there are close cultural exchanges, there are still cultural differences between China and the West. Therefore, the translation of film titles after the introduction of foreign films into China is very important. Although the translation of film titles seems to be a small project, it is not so easy to translate them well and to the point to let people can't wait to see the whole film. It is self-evident that the film title is the essence of a film. It is not good enough to accurately summarize the contents of the film to attract the audience. The quality of the film title directly affects its dissemination in China, and its importance is self-evident. （Ma Yuanyuan 2010,1-5）--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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This paper proposes a Skopos Theory approach to the translation of film titles. The ultimate goal of film title translation is to attract attention as much as possible on the premise of accurately conveying the content of the film. Skopos Theory can provide a reasonable explanation for those film titles that are not translated according to the traditional translation theory. The Skopos Theory put forward by Hans Vermeer is the core theory of functional translation theory. Compared with some previous translation theories, this theory has some breakthroughs. The purpose of translation carries through the whole process of translation, and the purpose determining method is its biggest feature, which gives the translator a lot of space to adopt the translation method that he thinks is suitable.（Baidu Encyclopedia:翻译目的论）&lt;br /&gt;
&lt;br /&gt;
This paper proposes a Skopos Theory approach to the translation of film titles. The ultimate goal of film title translation is to attract attention as much as possible on the premise of accurately conveying the content of the film. The Skopos Theory can provide a reasonable explanation for those film titles that are not translated according to the traditional translation theory. The Skopos Theory put forward by Hans Vermeer is the core theory of functional translation theory. Compared with some previous translation theories, this theory has some breakthroughs. The purpose of translation carries through the whole process of translation, and the purpose determining method is its biggest feature, which gives the translator a lot of space to adopt the translation method that he thinks is suitable.（Baidu Encyclopedia:翻译目的论）--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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This thesis is composed of five chapters. Chapter one serves as an introduction, presenting the importance of the translation of English film title translation, the adaptability of the Skopos Theory and the structure of the thesis.Chapter two is a general analysis of English film title translation, including film genres and features and functions of English film title translation. Chapter three is a general introduction of Skopos Theory, consisting of its development, concept and three basic principle. Chapter four analyzes the existing film title translation from the perspective of Skopos Theory, and comes to the methods of film title translation. Chapter five draws a conclusion finally.&lt;br /&gt;
&lt;br /&gt;
This thesis is composed of five chapters. Chapter one serves as an introduction, presenting the importance of the translation of English film title, the adaptability of the Skopos Theory and the structure of the thesis. Chapter two is a general analysis of English film title translation, including film genres,  features and functions of English film title translation. Chapter three is a general introduction of Skopos Theory, consisting of its development, concept and three basic principles. Chapter four analyzes the existing film title translation from the perspective of Skopos Theory, and comes to the methods of film title translation. Chapter five draws a conclusion finally.(!!!quotation is missing)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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==='''Chapter2  A General Introduction of English Film Title'''===&lt;br /&gt;
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====2.1 Film Genres ====&lt;br /&gt;
According to He Ying in her article &amp;quot;Theory and Method Guiding Film Title Translation&amp;quot;, films are normally divided into three categories: science and educational film, documentary film, and feature film. Educational film spread scientific and technological knowledge. (He Ying 2001, 57)Documentary film is a kind of film or TV art form that takes real life as the creation material, takes real people as the object of expression, and processes and displays it artistically. It takes showing the truth as the essence and arouses people's thinking with reality. Feature film is a kind of film work which uses image and sound as means to narrate. Any film which is played by actors, has a certain plot and expresses a certain theme can be called a feature film. Feature films are often more easily accepted by all and have a large audience,so that this thesis confines its tentative study to the titles and the corresponding translations of English feature films. As for feature films, Tim Dirks categorized the main genres such as action films, adventure films comedy films, crime&amp;amp;gangster films, drama films, epics or historical films, horror films, musical (dance）films, science fiction films, war (anti-war) films, and Westerns. Actually, a genre is always a vague term with no fixed boundaries and the referred types may overlap each other. Genres can be combined to form hybrid genres, such as ''Inglourious Basterds'' 《无耻混蛋》 which melts the genre of action and war，so does ''Saving Private Ryan''《拯救大兵瑞恩》. (Tim Dirks,2003,3.19)&lt;br /&gt;
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According to He Ying in her article &amp;quot;Theory and Method Guiding Film Title Translation&amp;quot;, films are normally divided into three categories: science and educational film, documentary film and feature film. Educational film spread scientific and technological knowledge. (He Ying 2001, 57)Documentary film is a kind of film or TV art form that takes real life as the creation material, takes real-life people as the object of expression, and processes and displays it artistically. It takes showing the truth as the essence and arouses people's thinking with reality. Feature film is a kind of film work which uses images and sound as means to narrate. Any film which is played by actors, has a certain plot and expresses a certain theme can be called a feature film. Feature films are often more easily accepted by all and have a large audience,so that this thesis confines its tentative study to the titles and the corresponding translations of English feature films. As for feature films, Tim Dirks categorized the main genres such as action films, adventure films comedy films, crime&amp;amp;gangster films, drama films, epics or historical films, horror films, musical (dance）films, science fiction films, war (anti-war) films, and Westerns. Actually, a genre is always a vague term with no fixed boundaries and the referred types may overlap each other. Genres can be combined to form hybrid genres, such as ''Inglourious Basterds'' 《无耻混蛋》 which melts the genres of action and war together，so does ''Saving Private Ryan''《拯救大兵瑞恩》. (Tim Dirks 2003,3.19)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Features of English Film Title====&lt;br /&gt;
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===== 2.2.1 Linguistic Features=====    &lt;br /&gt;
Foreign film titles are usually translated into Chinese with four characters and The translated titles are usually concise. It is not convenient for the audience to grasp the key points when they meet with long title and a short title can also contain many meanings. With the fierce competition in the film market, most of the audience just want to relax so that they prefer to watch films with accurate and concise expression of film titles. In addition, the use of four characters may be related to Chinese language habits that there are four character idioms in China. For example, ''Transformers'' 《变形金刚》, ''Captain America''《美国队长》, ''Escape Plan'' 《金蝉脱壳》, ''The Hunger Games'' 《饥饿游戏》, ''Once Upon a Time in America''《美国往事》.The translated titles of these foreign films are very concise and to the point, and the emphasis is on simplicity. They use vivid words to arouse the audience's interest. For example, the film Escape Plan is literally translated into Chinese as《金蝉脱壳》. The translator combines a Chinese idiom, golden cicada out of shell, which comes from the Xie Tianxiang written by Guan Hanqing. This idiom means when a cicada turns into an adult, one should take off a layer of shell, which draws an metaphor between people and cicada. And the film is about a prison designer who is locked into a high-pressure prison designed by himself and is ready to escape with other accomplices. The meaning the film and the idiom want to express is just the same, and the translated title is more vivid. (Baidu Encyclopaedia, golden cicada out of shell）&lt;br /&gt;
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Foreign film titles are usually translated into Chinese with four characters and the translated titles are usually concise. It is not convenient for the audience to grasp the key points when they meet with long title and a short title can also contain many meanings. With the fierce competition in the film market, most of the audience just want to relax so that they prefer to watch films with accurate and concise expression of film titles. In addition, the use of four characters may be related to Chinese language habits that there are four-character idioms in China. For example, ''Transformers'' 《变形金刚》, ''Captain America''《美国队长》, ''Escape Plan'' 《金蝉脱壳》, ''The Hunger Games'' 《饥饿游戏》, ''Once Upon a Time in America''《美国往事》.The translated titles of these foreign films are very concise and to the point, the emphasis is on simplicity. They use vivid words to arouse the audience's interest. For example, the film Escape Plan is literally translated into Chinese as《金蝉脱壳》. The translator combines a Chinese idiom, golden cicada out of shell, which comes from the Xie Tianxiang written by Guan Hanqing. This idiom means when a cicada turns into an adult, one should take off a layer of shell, which draws an metaphor between people and cicada. And the film is about a prison designer who is locked into a high-pressure prison designed by himself and is ready to escape with other accomplices. The meaning the film and the idiom want to express is just the same, and the translated title is more vivid. (Baidu Encyclopaedia, golden cicada out of shell）--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:49, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.2.2 Aesthetic Features ===== &lt;br /&gt;
In fact, the translation of film titles is also a kind of literature. When foreign films are introduced into China, the translation of translated titles is equivalent to giving the film a life again. film titles can also be appreciated as the paintings do. The aesthetic translation of film titles will create a kind of artistic conception with a strong artistic quality. The translator will use a lot of rhetorical devices, such as metaphor, contrast, repetition, contradiction, exaggeration, parody, symbol and so on. Take film ''Hilary and Jackie''《她比烟花寂寞》 for example, the film mainly shows us a cello genius Jacqueline dupley's brilliant and extremely short life like fireworks, which reflects the extreme gorgeous beauty, the loneliness behind the streamer. The word &amp;quot;fireworks&amp;quot; is used symbolically. At first, some people may think this translation is kind of affected, but in fact it is quite consistent with this film’s content and touching. There are other wonderful examples, such as ''The Hours''《时时刻刻》, ''Sommersby''《似是故人来》, ''The Shape of Water''《水形物语》, ''Flipped''《怦然心动》, ''The Bridges of Madison County''《廊桥遗梦》, which are fabulous. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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In fact, the translation of film titles is also a kind of literature. When foreign films are introduced into China, the translation of translated titles is equivalent to giving the film a life again. Film titles can also be appreciated as the paintings do. The aesthetic translation of film titles will create a kind of artistic conception with a strong artistic quality. The translator will use a lot of rhetorical devices, such as metaphor, contrast, repetition, contradiction, exaggeration, parody, symbol and so on. Take film ''Hilary and Jackie''《她比烟花寂寞》 for example, the film mainly shows us a cello genius Jacqueline Dupley's brilliant and extremely short life like fireworks, which reflects the extreme gorgeous beauty, the loneliness behind the streamer. The word &amp;quot;fireworks&amp;quot; is used symbolically. At first, some people may think this translation is kind of affected, but in fact it is quite consistent with this film’s content and touching. There are other wonderful examples, such as ''The Hours''《时时刻刻》, ''Sommersby''《似是故人来》, ''The Shape of Water''《水形物语》, ''Flipped''《怦然心动》, ''The Bridges of Madison County''《廊桥遗梦》, which are fabulous. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:55, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.2.3 Commercial Features=====&lt;br /&gt;
Whether the translation of the film is concise or aesthetic, it is aim to attract the public to buy tickets. Film is the combination of art and commerce. A cinema film will not only express art or just for commercial purposes, It better to say that commercial films may pay more attention to box office, while literary and artistic films will pay more attention to artistic expression. A film is the painstaking efforts of all the workers. If no one appreciates it, it would be a pity. Therefore, attraction is indispensable in the translation of film titles. For example, there are some animated feature films made by Pixar. ''Finding Nemo''《海底总动员》,''Toy Story''《玩具总动员》,''The Incredibles''《超人总动员》,''Cars''《汽车总动员》. They all used the form《XX总动员》,which is a manifestation of business characteristics. Toy story, as an animated film, created a box office miracle and had a wide influence in China. Naturally, the audience was deeply impressed by this translation. Therefore, considering its popularity and attractiveness, the distributor will try to translate similar cartoons in this way. However, with more and more such translated titles, the public has already experienced aesthetic fatigue. This kind of translation may lose its original function, so it will be replaced by other translations later. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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Whether the translation of the film is concise or aesthetic, it is aimed to attract the public to buy tickets. Film is the combination of art and commerce. A cinema film will not only express art or just for commercial purposes, It better to say that commercial films may pay more attention to box office, while literary and artistic films will pay more attention to artistic expression. A film is the painstaking efforts of all the workers. If no one appreciates it, it would be a pity. Therefore, attraction is indispensable in the translation of film titles. For example, there are some animated feature films made by Pixar. ''Finding Nemo''《海底总动员》,''Toy Story''《玩具总动员》,''The Incredibles''《超人总动员》,''Cars''《汽车总动员》. They all used the form《XX总动员》,which is a manifestation of business characteristics. Toy Story, as an animated film, created a box office miracle and had a wide influence in China. Naturally, the audience was deeply impressed by this translation. Therefore, considering its popularity and attractiveness, the distributor will try to translate similar cartoons in this way. However, with more and more such translated titles, the public have already experienced aesthetic fatigue. This kind of translation may lose its original function, so it will be replaced by other translations later. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:58, 19 December 2020 (UTC)&lt;br /&gt;
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====2.3 Functions of English Film Title====&lt;br /&gt;
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=====2.3.1 Informative Function =====  &lt;br /&gt;
The informative function is the basic function that any film title should possess.It is agreed that the film title should be of high-information value. A title without any informative value can be said meaningless. to enable the audience to get a thorough understanding of the film content. According to Newmark, the core of the informative function of language is external situation, the facts of a topic, reality outside language, including reported ideas or theories.In this thesis, the interpretation of the informative function is two-fold. (Newmark 2001, 40) &lt;br /&gt;
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The informative function is the basic function that any film title should possess. It is agreed that the film title should be of high-information value. A title without any informative value can be said meaningless. To enable the audience to get a thorough understanding of the film content. According to Newmark, the core of the informative function of language is external situation, the facts of a topic, reality outside language, including reported ideas or theories. In this thesis, the interpretation of the informative function is two-fold. (Newmark 2001, 40) --[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:08, 19 December 2020 (UTC)&lt;br /&gt;
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A film tile should highly summarize the content of a film, which conveys a lot of information, such as the genre of film. Many film viewers tend to watch a certain type of film. When she chooses which film to watch in the cinema, the translation title of the film plays a very important role, such as ''Triangle'' 《恐怖游轮》,a psychological suspense film. The heroine experiences repeated asmsaras interacted with each other. The film shows the same people appearing in the same place and even chasing each other, which provides a variety of understanding for the play. The director said that the film has three endings, but they all lead to the same end point, that is, the final scene of the car accident, leaving Melissa in this endless cycle. The original translation is triangle in Chinese, which is actually about the closed reincarnation of a triangle. It can be said that the translation does not fully grasp the inner essence of the film. By contrast, 《迷失三角洲》 expresses this film’s theme more accurately, but the title 《恐怖游轮》 is more attractive. It makes the genre of the film more easy to get to. People will know that it is a thriller and suspense film at the sight of the title. (Film titile and its translaion, Douban Movie website)&lt;br /&gt;
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A film tile should highly summarize the content of a film, which conveys a lot of information, such as the genre of film. Many film viewers tend to watch a certain type of film. When she chooses which film to watch in the cinema, the translation title of the film plays a very important role, such as ''Triangle'' 《恐怖游轮》,a psychological suspense film. The heroine experiences repeated asmsaras interacted with each other. The film shows the same people appearing in the same place and even chasing each other, which provides a variety of understanding for the play. The director said that the film has three endings, but they all lead to the same terminus, that is, the final scene of the car accident, leaving Melissa in this endless cycle. The original translation is triangle in Chinese, which is actually about the closed reincarnation of a triangle. It can be said that the translation does not fully grasp the inner essence of the film. By contrast, 《迷失三角洲》 expresses this film’s theme more accurately, but the title 《恐怖游轮》 is more attractive. It makes the genre of the film more easy to get to. People will know that it is a thriller and suspense film at the sight of the title. (Film title and its translation, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:08, 19 December 2020 (UTC)&lt;br /&gt;
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Film title can not only let the audience know the type of the film, but also let the audience quickly know the relevant information of the film, such as time, place, character, what’s going on with characters. For example, Rise of the Planet of ''the Apes''《猩球崛起》，from the title , we can know that the film is telling stories about orangutans. ''12 Angry Men''《十二怒汉》, this title tells us that the main characters of the story are twelve men. ''Homeless to Harvard: the Liz Murray story'' 《风雨哈佛路》，this title let us know know that it tells the story of the protagonist's struggle at Harvard. ''Sleepless in Seattle''《西雅图夜未眠》, and from this title, we are ware of that the location of the story is mainly in Seattle. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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Film title can not only let the audience know the type of the film, but also let the audience quickly know the relevant information of the film, such as time, place, character, what’s going on with characters. For example, Rise of the Planet of ''the Apes''《猩球崛起》，from the title , we can know that the film is telling stories about orangutans. ''12 Angry Men''《十二怒汉》, this title tells us that the main characters of the story are twelve men. ''Homeless to Harvard: the Liz Murray story'' 《风雨哈佛路》，this title let us know know that it tells the story of the protagonist's struggle at Harvard. ''Sleepless in Seattle''《西雅图夜未眠》, and from this title, we are aware that the location of the story is mainly in Seattle. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:08, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.3.2 Aesthetic Function===== &lt;br /&gt;
Chinese and English are two different languages. Chinese pays attention to refining words, which is very consistent with the requirements of film title translation.Word refining pays attention to vivid, using language to render an atmosphere or artistic conception, and transmit this feeling to the Chinese audience.如''The Remains of the Day''《长日将尽》 This film is adapted from the novel of the same title British novelist of Japanese origin Kazuo Ishiguro, the film is an elegy about the decline of the aristocracy in the British Empire. The protagonist of the story recalls his life in the form of a diary. The most important thing is the relationship between him and his former colleague, the housekeeper Miss Ken Dunn. He was a loyal housekeeper in the noble family. He saw the vicissitudes of prosperity and tried to perfect his work. However, he always suppressed his feelings and saw miss Kendeng, who was waiting for no result, to marry away from home. This translation has successfully created a melancholy atmosphere. What’s more, a carefully designed film title can well perform the aesthetic function, creating such beauty as phonetic beauty and imaginational beauty. For example, ''Breathe''《一呼一吸》, this translation sounds rhythmic, if we just translate it into 《呼吸》，then it will lose the beauty of sound, in addition, four characters looks more neat visually. And there are other wonderful examples, such as ''Like Sunday, Like Rain''《如晴天，似雨天》, The Words《妙笔生花》. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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Chinese and English are two different languages. Chinese pays attention to refining words, which is very consistent with the requirements of film title translation. Word refining pays attention to vivid, using language to render an atmosphere or artistic conception, and transmit this feeling to the Chinese audience. Take ''The Remains of the Day''《长日将尽》for examle, this film is adapted from the novel of the same title British novelist of Japanese origin Kazuo Ishiguro, and the film is an elegy about the decline of the aristocracy in the British Empire. The protagonist of the story recalls his life in the form of a diary. The most important thing is the relationship between him and his former colleague, the housekeeper Miss Ken Dunn. He was a loyal housekeeper in the noble family. He saw the vicissitudes of prosperity and tried to perfect his work. However, he always suppressed his feelings and saw Miss Kendeng, who was waiting for no result, to marry away from home. This translation has successfully created melancholy atmosphere. What’s more, a carefully designed film title can well perform the aesthetic function, creating such beauty as phonetic beauty and imaginational beauty. For example, ''Breathe''《一呼一吸》, this translation sounds rhythmic, if we just translate it into 《呼吸》，then it will lose the beauty of sound. In addition, four characters looks more neat visually. And there are other wonderful examples, such as ''Like Sunday, Like Rain''《如晴天，似雨天》, The Words《妙笔生花》. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:15, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.3.3 Vocative Function =====  &lt;br /&gt;
A film title can show the audience with the relevant information about the film, and it can create an imaginative atmosphere for the audience and entertain them aesthetically. However, its vocative function is more important. That is to call upon the audience to buy tickets. According to Newmark, &amp;quot;the core of the vocative function of language is the readership, the addressee&amp;quot; (Newmark 2001, 41).&lt;br /&gt;
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A film title can show the audience the relevant information about the film, and it can create an imaginative atmosphere for the audience and entertain them aesthetically. However, its vocative function is more important. That is to call upon the audience to buy tickets. According to Newmark, &amp;quot;the core of the vocative function of language is the readership, the addressee&amp;quot; (Newmark 2001, 41). --[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:20, 19 December 2020 (UTC)&lt;br /&gt;
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According to Wei Jianhua, when the definition is applied to film titles, the addressees here refer to audiences. The vocative function of film titles is to draw the attention of audiences, make them psychologically interested and buy tickets.  Both informative and aesthetic functions serve the vocative function, since the prime and ultimate aim of film production is to win the hearts of audiences and be financially rewarded. Few titles are purely informative aesthetic or vocative. The three major functions are often integrated, with emphasis on one of them. Some translations of film titles are very eye-catching, such as ''Frozen''《冰雪奇缘》, if it is translated literally, it will become 《冰冻》, which is not vivid at all. However, 《冰雪奇缘》is full of sense of fairy tale, which gives people a lively and wonderful feeling, that is, realizes the value of information transmission, and also improves the publicity effect of the film. There are far more examples, such as ''Man on Fire''《怒火救援》, ''The Bourne Identity''《谍影重重》, ''The Matrix'' 《黑客帝国》, ''V for Vendetta''《V字仇杀队》. (Wei Jianhua2008, 121-122)&lt;br /&gt;
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According to Wei Jianhua, when the definition is applied to film titles, the addressees here refer to audiences. The vocative function of film titles is to draw the attention of audiences, make them psychologically interested and buy tickets.  Both informative and aesthetic functions serve the vocative function since the prime and ultimate aim of film production is to win the hearts of audiences and be financially rewarded. Few titles are purely informative aesthetic or vocative. The three major functions are often integrated, with emphasis on one of them. Some translations of film titles are very eye-catching, such as ''Frozen''《冰雪奇缘》, if it is translated literally, it will become 《冰冻》, which is not vivid at all. However, 《冰雪奇缘》is full of sense of fairy tale, which gives people a lively and wonderful feeling, that is, realizes the value of information transmission, and also improves the publicity effect of the film. There are far more examples, such as ''Man on Fire''《怒火救援》, ''The Bourne Identity''《谍影重重》, ''The Matrix'' 《黑客帝国》, ''V for Vendetta''《V字仇杀队》. (Wei Jianhua2008, 121-122)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:20, 19 December 2020 (UTC)&lt;br /&gt;
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==='''Chapter3 A General Introduction of Skopos Theory'''===&lt;br /&gt;
====3.1 The Development of Skopos Theory====&lt;br /&gt;
Skopos Theory, originally written as Skopostheorie in German, is a major translation approach of German Functionalist School. &amp;quot;Skopos&amp;quot; means “ purpose ”or “ goal ” in Greek. “The 1970s and 1980s saw a move away from the static linguistic typologies of translation shifts and the emergence and flourishing in Germany of a functionalist and communicative to the analysis of translation .” The Skopos Theory is one of the achievements of its development and the most important one.The development of the Skopos Theory experienced following four stages. (Munday 2016, 73) &lt;br /&gt;
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Skopos Theory, originally written as Skopostheorie in German, is a major translation approach of German Functionalist School. &amp;quot;Skopos&amp;quot; means &amp;quot; purpose &amp;quot;or &amp;quot; goal &amp;quot; in Greek. &amp;quot;The 1970s and 1980s saw a move away from the static linguistic typologies of translation shifts and the emergence and flourishing in Germany of a functionalist and communicative to the analysis of translation .&amp;quot; The Skopos Theory is one of the achievements of its development and the most important one. The development of the Skopos Theory experienced following four stages. (Munday 2016, 73)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:29, 19 December 2020 (UTC)&lt;br /&gt;
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Firstly,in the book “ Possibility and Limitations in Translation Criticism” , Katherine Rice first proposed functional translation theory. She believes that translators should put functional features first rather than information equivalence. (Baidu Encyclopaedia:翻译目的论）&lt;br /&gt;
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Secondly, Hans Vermeer, a student of Reiss, broke away from the equivalence-based theories and set up the theoretical framework for &amp;quot;Functional School&amp;quot;: Skopos Theory. situation&amp;quot;. In the framework of Vermeer's theory, every translation is directed at an intended audience, since to translate means “ to produce a text in a target setting for a target purpose and target addressees in target circumstances” (Vermeer 1987, 29). &lt;br /&gt;
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Thirdly, On the basic of Vermeer's research, Justa Holz Manttari further developed thefunctional theory. “ Manttari's theory is based on the principles of action theory and is cover all forms of intercultural transfer ”“ Manttari places special emphasis on the action aspect of the translation process, analyzing the roles of the participants (initiator, translator, user and message receiver) and the situational conditions (time, place and medium) in which their activities take place&amp;quot;.Skopos Theory views translation as a complex activity intended to realize a specific purpose. (Nord1991, 12-13).&lt;br /&gt;
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Thirdly, on the basic of Vermeer's research, Justa Holz Manttari further developed the functional theory. “ Manttari's theory is based on the principles of action theory and is cover all forms of intercultural transfer ”“ Manttari places special emphasis on the action aspect of the translation process, analyzing the roles of the participants (initiator, translator, user and message receiver) and the situational conditions (time, place and medium) in which their activities take place&amp;quot;. Skopos Theory views translation as a complex activity intended to realize a specific purpose(Nord1991, 12-13).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:29, 19 December 2020 (UTC)&lt;br /&gt;
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Fourthly，Christina Nord summed up and perfected the theory of functionalism. She systematically expounds in English the internal and external factors to be considered in text analysis in translation and how to formulate translation strategies suitable for translation purposes on the basis of the functions of the original text. Christina Nord sorts out the functionalist theories and proposes that translators should follow the guiding principle of “ Function Plus Loyalty ” , thus perfecting the theory.（Baidu Encyclopaedia:翻译目的论）&lt;br /&gt;
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=====3.2 Three Basic Rules of Skopos Theory=====&lt;br /&gt;
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The top-ranking rule for any translation is thus the “ skopos rule”, what Reiss and Vermeer described as “ the end justifies the means ” (Reiss &amp;amp;Vermeer1984, 101). There are three possible kinds of purposes in the field of translation: (1) the translator's general purpose in the translation process (perhaps to earn a living); (2) the communicative purpose aimed at by the target text in the target situation (perhaps to instruct the reader); (3) the purpose aimed at by a particular translation strategy or procedure (for example, to translate literally in order to show the structural particularities of the source language). (Baidu Encyclopaedia , Skopos Theory)&lt;br /&gt;
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The skopos rule is summed up by Vermeer as “ the end justifies the means ”. He explains the skopos rule in the following way: Each text is produced.for a given purpose and should serve this purpose. The rule thus reads as follows: translate/ interpret/ speak/ write in a way that enables your text/translation to. function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord 2001, 29)&lt;br /&gt;
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The skopos rule is summed up by Vermeer as “ the end justifies the means ”. He explains the skopos rule in the following way: Each text is produced for a given purpose and should serve this purpose. The rule thus reads as follows: translate/ interpret/ speak/ write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord 2001, 29)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:39, 19 December 2020 (UTC)&lt;br /&gt;
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Another important rule of Skopos Theory is the coherence rule, which means that &amp;quot;a translation should be acceptable in a sense that it is coherent with the receivers situation&amp;quot;. Focusing on the target readership and target culture, functionalists regard intra-textual coherence than inter-textual coherence, just as Nord put it, &amp;quot;inter-textual coherence is considered subordinate to intra-textual coherence, and both are subordinated to the skopos rule. (Baidu Encyclopaedia , Skopos Theory)&lt;br /&gt;
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The third rule of Skopos Theory is fidelity rule. Fidelity rule means that there should be inter -textual coherence between the original text and the target text. This is equivalent to the so-called faithfulness to the original text in other translation theories, but the degree and form of faithfulness to the original text depends on the purpose of the translation and the translator's understanding of the original text. (Baidu Encyclopaedia , Skopos Theory)&lt;br /&gt;
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=====3.3 Function Plus Loyalty=====&lt;br /&gt;
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As mentioned above, the primary rule in Skopos Theory is the skopos rule, which defines that the translators can make changes of the word, style or form of the source text in the accordance with translation purpose. While the inter-textual coherence rule holds that the translated version should be loya1 to the source text. However, when the aim of the author is contrary to the aim of the translator, the inter-textual coherence rule should be abide by the skopos rule. As a result, there may appear the situation that there is no restriction for the change of source text. In order to improve the functionalism studies, Nord proposes the loyalty rule, which insists that the translator should be loyal to the author and audience: “ The audiences have the right to know what the translator has done for the original text and what kind of work produced by the translator. Translators cannot simply translate in a non-literal way without telling the target audience what they have done and why. (Nord 2001, 125)&amp;quot;.&lt;br /&gt;
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As mentioned above, the primary rule in Skopos Theory is the skopos rule, which defines that the translators can make changes of the word, style or form of the source text in the accordance with translation purpose. While the inter-textual coherence rule holds that the translated version should be loya1 to the source text. However, when the aim of the author is contrary to the aim of the translator, the inter-textual coherence rule should be abide by the skopos rule. As a result, there may appear the situation that there is no restriction to the change of source text. In order to improve the functionalism studies, Nord proposes the loyalty rule, which insists that the translator should be loyal to the author and audience: “ The audiences have the right to know what the translator has done for the original text and what kind of work produced by the translator. Translators cannot simply translate in a non-literal way without telling the target audience what they have done and why.&amp;quot;(Nord 2001, 125)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:36, 19 December 2020 (UTC)&lt;br /&gt;
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Function refers to the factors that make a target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship between the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients.&lt;br /&gt;
All in all, This theory enriched Vermeer’s Skopos Theory, avoids soure-text sovereign and perfects radical functionalist. (Baidu Encyclopaedia,Skopos Theory)&lt;br /&gt;
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Function refers to the factors that make a target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship between the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. All in all, this theory enriched Vermeer’s Skopos Theory, avoids soure-text sovereign and perfects radical functionalist. (Baidu Encyclopaedia,Skopos Theory)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:33, 19 December 2020 (UTC)&lt;br /&gt;
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====Chapter4 The Application of Skopos Theory in Film Title Translation====&lt;br /&gt;
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=====4.1 Skopos Theory's Guiding Role in English Film Title Translation=====&lt;br /&gt;
A careful look at theory may show that it is significant in that it is different from traditional theories. It helps to free translators from the bondage of traditional theories by providing them a new way of thinking, broadens the scope of translation studies by increasing the range of possible translation strategies, and establishes a profound foundation, helping people to penetrate deeper into cultural and translation phenomena.Traditional translation theories tend to classify the translation of film titles into general literature translation. Equivalence theory plays an important role in traditional translation theories. However, the author believes that it is difficult to achieve the commercial effect required by the film title simply by emphasizing the equivalence between the original text and the translation. Therefore, it will be more appropriate to regard it as an advertisement translation. Since it is an advertisement translation, of course, the first thing to emphasize is the publicity effect. （Zheng Yuqi &amp;amp; Wang Xiaodong，2006）&lt;br /&gt;
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A careful look at theory may show that it is significant in that it is different from traditional theories. It helps to free translators from the bondage of traditional theories by providing them a new way of thinking, broadens the scope of translation studies by increasing the range of possible translation strategies, and establishes a profound foundation, helping people to penetrate deeper into cultural and translation phenomena. Traditional translation theories tend to classify the translation of film titles into general literature translation. Equivalence theory plays an important role in traditional translation theories. However, the author believes that it is difficult to achieve the commercial effect required by the film title simply by emphasizing the equivalence between the original text and the translation. Therefore, it will be more appropriate to regard it as an advertisement translation. Since it is an advertisement translation. Of course, the first thing to emphasize is the publicity effect. （Zheng Yuqi &amp;amp; Wang Xiaodong，2006）--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:05, 19 December 2020 (UTC)&lt;br /&gt;
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For example, the Chinese translation of film titles is to make the Chinese translation attract the interest of Chinese readers in the Chinese market. In this way, Skopos Theory naturally plays a guiding role. Therefore, the first rule of Skopos Theory is skopos rule. The translation of film titles emphasizes the commercial nature, that is to say, it should be attractive enough. Therefore, we should not stay in the translation itself when translating film titles. The traditional equivalent translation theory can not be fully applied to the translation of film titles, so more effective translation theories are needed to guide it. Therefore, it has to be associated with the German functionalist translation theory with Skopos as its core. The most direct purpose of film title translation is the transmission of information. A good translation can highlight the content of the original film and make the audience better understand the theme information expressed and transmitted by the original film.If the translator could not produce a satisfactory version only on the base of the original title, he should consult the plot of the film. (Baidu Encyclopaedia,翻译目的论)&lt;br /&gt;
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For example, the Chinese translation of film titles is to make the Chinese translation attract the interest of Chinese readers in the Chinese market. In this way, Skopos Theory naturally plays a guiding role. Therefore, the first rule of Skopos Theory is skopos rule. The translation of film titles emphasizes the commercial nature, that is to say, it should be attractive enough. Therefore, we should not stay in the translation itself when translating film titles. The traditional equivalent translation theory can not be fully applied to the translation of film titles, so more effective translation theories are needed to guide it. Therefore, it has to be associated with the German functionalist translation theory with Skopos as its core. The most direct purpose of film title translation is the transmission of information. A good translation can highlight the content of the original film and make the audience better understand the theme information expressed and transmitted by the original film. If the translator could not produce a satisfactory version only on the base of the original title, he should consult the plot of the film. (Baidu Encyclopaedia,翻译目的论)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:05, 19 December 2020 (UTC)&lt;br /&gt;
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Let's look at an example in order to make this point clear. The film Thelma and Louise,Louise is a waitress in a cafe. She is busy all day and wants to travel. Her good friend Selma has been unhappy since she married a car salesman Daryl. She stayed at home all day, lonely and bored. One weekend, Persuaded by Louise again and again, she agreed to go on a pleasant trip with her. They parked their car in a bar in Arkansas for the night. The bar is full of young customers. The drunken Harun took a fancy to Selma and asked her to dance. Selma didn't listen to Louise's advice. She danced and drank with Harlan, and was taken outside to the parking lot. Harlan tried to harass her. After being rejected, Harun becomes violent and tries to force Selma to submit to him with violence. Louise came to the parking lot, found Selma in a critical condition, took out the pistol that Selma had brought in the luggage bag, and forced Harlem to let Selma go. Harlan began to curse and insult them. In his anger, Louis shot and killed him. In a flash, the two female partners on a vacation journey, embarked on a journey of despair that can not be turned back.In the Grand Canyon, Selma and Louise are determined to fight to the end and never give in. They smile and clasp hands,driving towards the cliff. Actually, this film mainly describe what happened to this two women and their growth process.''Thelma and Louise'', When translated into《末路狂花》, the audience can predict the stimulating effect that the film wants to express and convey the message of the film. If translated literally into 《塞尔玛与露易斯》, it will inevitably make people confused, unable to grasp the main meaning of the film, only two names can be known. Therefore, Skopos Theory plays an important role in the translation of film titles. (The plot of film, Douban Movie website)&lt;br /&gt;
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Let's look at an example in order to make this point clear. The film ''Thelma and Louise'', Louise is a waitress in a cafe. She is busy all day and wants to travel. Her good friend Selma has been unhappy since she married a car salesman Daryl. She stayed at home all day, lonely and bored. One weekend, Persuaded by Louise again and again, she agreed to go on a pleasant trip with her. They parked their car in a bar in Arkansas for the night. The bar is full of young customers. The drunken Harun took a fancy to Selma and asked her to dance. Selma didn't listen to Louise's advice. She danced and drank with Harlan, and was taken outside to the parking lot. Harlan tried to harass her. After being rejected, Harun becomes violent and tries to force Selma to submit to him with violence. Louise came to the parking lot, found Selma in a critical condition, took out the pistol that Selma had brought in the luggage bag, and forced Harlem to let Selma go. Harlan began to curse and insult them. In his anger, Louis shot and killed him. In a flash, the two female partners on a vacation journey, embarked on a journey of despair that can not be turned back.In the Grand Canyon, Selma and Louise are determined to fight to the end and never give in. They smile and clasp hands,driving towards the cliff. Actually, this film mainly describe what happened to this two women and their growth process.''Thelma and Louise'', When translated into《末路狂花》, the audience can predict the stimulating effect that the film wants to express and convey the message of the film. If translated literally into 《塞尔玛与露易斯》, it will inevitably make people confused, unable to grasp the main meaning of the film, only two names can be known. Therefore, Skopos Theory plays an important role in the translation of film titles. (The plot of film, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:05, 19 December 2020 (UTC)&lt;br /&gt;
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There are many examples, ''Erin Brockovich'' 《永不妥协》, ''Fast &amp;amp; Furious''《速度与激情》 ''Blade Runner''《银翼杀手》, ''Lord of Ring'' 《魔戒》, ''Inception''《盗梦空间》,''Top Gun''《壮志凌云》, These titles are not only translated from the source language into the target language, but also for the purpose of film sales, taking into account the information, aesthetic and other factors to form an attractive translation. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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There are many examples, ''Erin Brockovich'' 《永不妥协》, ''Fast &amp;amp; Furious''《速度与激情》 ''Blade Runner''《银翼杀手》, ''Lord of Ring'' 《魔戒》, ''Inception''《盗梦空间》,''Top Gun''《壮志凌云》, These titles are not only translated from the source language into the target language, but also for the purpose of film sales, taking into account the information, aesthetic and other factors to form an attractive translation. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:05, 19 December 2020 (UTC)&lt;br /&gt;
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====4.2 Methods for Film Title Translation====&lt;br /&gt;
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=====4.2.1Transliteration=====&lt;br /&gt;
Transliteration means to seek phonetic correspondence in terms of the translation to describe the English syllables through the corresponding Chinese characters carrying similar sounds. It relates to the conversion of different alphabets in different language system. Transliteration is usually applied this situations, when they are the name of persons and places and historical events. This method is often adopted in the film title translation because it has the obviously features in keeping the phonetic fluency of original film titles which express its strong exoticism, which can arouse the audience's curiosity to see the film. With the development of global communication, people become more and more interested in knowing other country’s culture, this method is becoming increasingly popular. (Wei Jianhua,2008,121-122)&lt;br /&gt;
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For example，''Jane Eyre'' 《简爱》，''Dunkirk''《敦刻尔克》，''Hamlet''《哈姆雷特》, ''Emma''《爱玛》, ''Mulan''《木兰花》, ''Brooklyn''《布鲁克林》,''Manhattan''《曼哈顿》.Transliteration can enable the target audience to know more about the original history and culture. On the contrary, if they are translated in other ways, the viewers may take it as an ordinary film and may feel no interest in it, which will in turn do great harm to the box-office value of the film. However, this does not mean that transliteration should be adopted for any title which can be transliterated. If the original title can only provide little information and the audience can only contact with a foreign word, then transliteration can not achieve the effect that translation of film title should have. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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For example，''Jane Eyre'' 《简爱》，''Dunkirk''《敦刻尔克》，''Hamlet''《哈姆雷特》, ''Emma''《爱玛》, ''Mulan''《木兰花》, ''Brooklyn''《布鲁克林》,''Manhattan''《曼哈顿》.Transliteration can enable the target audience to know more about the original history and culture. On the contrary, if they are translated in other ways, the viewers may take it as an ordinary film and may feel no interest in it, which will in turn do great harm to the box-office value of the film. However, this does not mean that transliteration should be adopted for any title which can be transliterated. If the original title can only provide little information and the audience can only contact with a foreign word, then transliteration can not achieve the effect that translation of film title should have. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:59, 19 December 2020 (UTC)&lt;br /&gt;
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=====4.2.2 Literal Translation =====&lt;br /&gt;
Functionalism does not exclude equivalence so long as it is adequate to a Skopos that requires that the target text serve the same communicative function or functions as the source text.The merits of this method lie in its fidelity to the original meaning and cultural flavor of the original.The original title of many films is a high generalization of the content of the film, which can better realize its information function, aesthetic function and market function. It is necessary to be faithful to the theoretical basis of the original text. At this time, the literal translation of the title often inherits the simplicity and clarity of the original title, with large amount of information and easy to arouse the audience's curiosity. （Nord 2004, 36)&lt;br /&gt;
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Functionalism does not exclude equivalence so long as it is adequate to a Skopos that requires that the target text serve the same communicative function or functions as the source text. The merits of this method lie in its fidelity to the original meaning and cultural flavor of the original. The original title of many films is a high generalization of the content of the film, which can better realize its information function, aesthetic function and market function. It is necessary to be faithful to the theoretical basis of the original text. At this time, the literal translation of the title often inherits the simplicity and clarity of the original title, with large amount of information and easy to arouse the audience's curiosity. （Nord 2004, 36)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
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In the process of actual translation, the degree of overlap between Chinese and English in many film titles is astonishing, which can almost achieve word-for-word translation.For example, ''Blue Valentine''《蓝色情人节》,''Eat Pray Love''《美食、祈祷和恋爱》,''Darkest Hour''《至暗时刻》,''Hideen Figures''《隐藏人物》, ''Primal Fear''《一级恐惧》, ''Four Wedding and a Funeral''《四个婚礼和一个葬礼》, ''Pearl Harbor''《珍珠港》, ''Atonement''《赎罪》, ''Leap Year''《闰年》, ''Detachment''《超脱》. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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In the process of actual translation, the degree of overlap between Chinese and English in many film titles is astonishing, which can almost achieve word-for-word translation. For example, ''Blue Valentine''《蓝色情人节》,''Eat Pray Love''《美食、祈祷和恋爱》,''Darkest Hour''《至暗时刻》,''Hideen Figures''《隐藏人物》, ''Primal Fear''《一级恐惧》, ''Four Wedding and a Funeral''《四个婚礼和一个葬礼》, ''Pearl Harbor''《珍珠港》, ''Atonement''《赎罪》, ''Leap Year''《闰年》, ''Detachment''《超脱》. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
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Besides, there are other way to use this method by changing the parts of the speech or adjusting the word order, for example, ''10 Things I Hate About You''《我恨你的十件事》''12 Years a Slave''《为奴十二年》, ''Life as We Know It''《我们所知道的生活》,to make it more specific, I will use this example ''A Star Is Born''《一个明星的诞生》，in the original title, the “born” is a verb, but when it is translated in to the Chinese title, the verb is changed into a noun to make this title look more balance. And in this example,''The Boy in the Striped Pajamas''《穿条纹睡衣的男孩》, the translator changed the original order to cater to the grammar of Chinese. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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Besides, there are other way to use this method by changing the parts of the speech or adjusting the word order, for example, ''10 Things I Hate About You''《我恨你的十件事》''12 Years a Slave''《为奴十二年》, ''Life as We Know It''《我们所知道的生活》. To make it more specific, I will use this example ''A Star Is Born''《一个明星的诞生》，in the original title, the “born” is a verb, but when it is translated in to the Chinese title, the verb is changed into a noun to make this title look more balance. And in this example,''The Boy in the Striped Pajamas''《穿条纹睡衣的男孩》, the translator changed the original order to cater to the grammar of Chinese. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
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What’s more, sometimes, the article like a or the will be deleted when translated into Chinese because it is not so important to viewer to catch the information about a certain film in some circumstances and by doing this, the title will look more concise, such as ''The Imitation Game''《模仿游戏》, ''A Beautiful Mind'' 《美丽心灵》, ''A Perfect World''《完美的世界》, ''The Social Network'' 《社交网络》. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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What’s more, sometimes, the article like &amp;quot;a, or, the&amp;quot; will be deleted when translated into Chinese because it is not so important to viewer to catch the information about a certain film in some circumstances and by doing this, the title will look more concise, such as ''The Imitation Game''《模仿游戏》, ''A Beautiful Mind'' 《美丽心灵》, ''A Perfect World''《完美的世界》, ''The Social Network'' 《社交网络》. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
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=====4.2.3 Liberal Translation=====&lt;br /&gt;
Any translator with common sense of translation will not expect to find equivalent expressions in the target language all the time. Given this, translators may often adopt free translation. Free translation is an alternative approach that is used mainly to convey the meaning and the spirit of the original title without sticking to the form. (Feng qinhua2000, 36-44) &lt;br /&gt;
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Liberal translation preserve the content of the original title as much as possible at the cost of changing the form of the film title. In the specific operation, translators often use some techniques, such as addition, conversion and extension in particular so as to deeply convey the content of the original film and enhance the appeal of the title.（He Ying 2001, 57）&lt;br /&gt;
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A List of examples belong to this group, such as ''Coherence''《彗星来的那一夜》, ''The Secret Life of Walter Mitty''《白日梦想家》, ''Welcome''《非法入境》, ''Agro''《逃离德黑兰》, ''Silver Linings Playbook''《乌云背后的幸福线》, ''A Lot Like Love''《相见恨早》, ''If Only''《爱再来一次》, ''Temple Grandin''《自闭历程》, ''La La Land'' 《爱乐之城》,''Eternal Sunshine of the Spotless Mind''《暖暖内含光》,''Hacksaw Ridge''《血战钢锯岭》. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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A List of examples belong to this group, such as ''Coherence''《彗星来的那一夜》, ''The Secret Life of Walter Mitty''《白日梦想家》, ''Welcome''《非法入境》, ''Agro''《逃离德黑兰》, ''Silver Linings Playbook''《乌云背后的幸福线》, ''A Lot Like Love''《相见恨早》, ''If Only''《爱再来一次》, ''Temple Grandin''《自闭历程》, ''La La Land'' 《爱乐之城》,''Eternal Sunshine of the Spotless Mind''《暖暖内含光》,''Hacksaw Ridge''《血战钢锯岭》. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:49, 19 December 2020 (UTC)&lt;br /&gt;
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=====4.2.4 Combination of Transliteration and Literal Translation=====&lt;br /&gt;
In addition to literal translation and transliteration, there is another way, that is, to combine literal translation and transliteration. This method is usually applicable to the original title containing the name of a person or place. Of course, this is not a perfunctory translation method, the title can still summarize the information of the whole film after being translated. For example, ''Becoming Jane''《成为简奥斯丁》, ''The Life of David Gale''《大卫·戈尔的一生》, ''Manchester by the Sea''《海边的曼彻斯特》, ''Notting Hill'' 《诺丁山》, ''A Rainy Day in New York''《纽约的一个雨天》, ''Maid in Manhattan''《曼哈顿女佣》,''Citizen Kane''《公民凯恩》, ''The Shawshank Redemption'' 《肖申克的救赎》, ''Schindler’List''《辛德勒的名单》. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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In addition to literal translation and transliteration, there is another way, that is, to combine literal translation and transliteration. This method is usually applicable to the original title containing the name of a person or place. Of course, this is not a perfunctory translation method, the title can still summarize the information of the whole film after being translated. For example, ''Becoming Jane''《成为简奥斯丁》, ''The Life of David Gale''《大卫·戈尔的一生》, ''Manchester by the Sea''《海边的曼彻斯特》, ''Notting Hill'' 《诺丁山》, ''A Rainy Day in New York''《纽约的一个雨天》, ''Maid in Manhattan''《曼哈顿女佣》,''Citizen Kane''《公民凯恩》, ''The Shawshank Redemption'' 《肖申克的救赎》, ''Schindler’List''《辛德勒的名单》. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:50, 19 December 2020 (UTC)&lt;br /&gt;
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=====4.2.5 Combination of Literal Translation and Liberal Translation=====&lt;br /&gt;
The combination of literal translation and liberal translation can be faithful to the original text to the greatest extent and attract the audience. Due to various reasons, the original titles of some English films only realize the information function of translated titles. In order to realize the various functions of translation, the translator sometimes retains the reasonable part of the original name, and then combines the need of the audience to complete the relevant information as far as possible. (He Aixiang2020, 103-107) &lt;br /&gt;
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There are some examples, such as ''Wonder''《奇迹男孩》, ''Whiplash''《爆裂鼓手》, ''Sully''《萨利机长》, ''I, Tonya''《我，花样女王》, ''Love Actually''《真爱至上》, ''Changeling''《换子疑云》, ''The Bucket List''《遗愿清单》, ''Before Sunrise''《爱在黎明破晓前》, ''Before Sunset''《爱在日落黄昏时》,  ''Before Midnight''《爱在午夜降临前》, ''The Martian'' 《火星救援》. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
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There are some examples, such as ''Wonder''《奇迹男孩》, ''Whiplash''《爆裂鼓手》, ''Sully''《萨利机长》, ''I, Tonya''《我，花样女王》, ''Love Actually''《真爱至上》, ''Changeling''《换子疑云》, ''The Bucket List''《遗愿清单》, ''Before Sunrise''《爱在黎明破晓前》, ''Before Sunset''《爱在日落黄昏时》,  ''Before Midnight''《爱在午夜降临前》, ''The Martian'' 《火星救援》. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====4.2.6 Re-creative Translation=====&lt;br /&gt;
As mentioned above, re-creative translation is the last resort so far as the translation of English film titles is concerned. Sometimes, some titles are obscure and neither nor fowl after translation while others are very ordinary without attraction and this method aims not only transferring the informative value, but also reproducing the aesthetic and appellative value of the film. (Ma Yuanyuan 2010, 28-29)&lt;br /&gt;
&lt;br /&gt;
The following are good examples, such as ''North Country''《永不让步》, ''Rudy''《追梦赤子心》, ''Definitely，Maybe''《爱情三选一》, ''Up''《飞屋环游记》, ''Coco''《寻梦环游记》. (All film titiles and their translaions, Douban Movie website)&lt;br /&gt;
&lt;br /&gt;
The following are good examples, such as ''North Country''《永不让步》, ''Rudy''《追梦赤子心》, ''Definitely，Maybe''《爱情三选一》, ''Up''《飞屋环游记》, ''Coco''《寻梦环游记》. (All film titles and their translations, Douban Movie website)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:48, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Chapter5 Conclusion'''===&lt;br /&gt;
This paper studies the translation of film titles from the perspective of Skopos Theory. Firstly, it analyzes the genres of films, the characteristics and functions of film titles translation. Secondly, it mainly introduces the development and rules of Skopos Theory. Finally, it analyzes the translation of film names under the Skopos Theory and puts forward some translation methods of film titles. Skopos Theory holds that the skopos rule is the primary rule, therefore, when translating film titles, translators have more initiative and they can use more diversified methods, which makes the film titles more commercial. However, there are still many shortcomings in this paper. For example, when analyzing the characteristics and functions of film titles, the aspect of cultural exchange is not taken into account. In the final translation method part, the summary is not in place, and the proposed method is not novel enough. I hope that in the further study, I can put forward a more applicable model of film title translation, and the last point is the lack of film data, the main purpose of film title translation is to attract more audience to buy tickets. If I can analyze the data of box office well, I can further evaluate whether the purpose of film title translation has been achieved. This paper is only limited to the author's understanding of the translation, thus some conclusions and analysis are still not profound enough. The author hopes that there will be more research results in the future, which can provide more abundant theories and methods to guide the translation of film titles.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===	&lt;br /&gt;
He Yuan贺莺. (2001) 电影片名的翻译理论和方法 [Theories and Methods of Film Title Translation].外语教学Foreign Language Education (01) 56-60.&lt;br /&gt;
&lt;br /&gt;
Tim, Dirks.(2003) [Main Film Genres]. https://www.filmsite.org/genres.html&lt;br /&gt;
&lt;br /&gt;
Baidu Encyclopaedia 百度百科 金蝉脱壳 https://baike.baidu.com/item/金蝉脱壳/83303?fr=aladdin&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (2001). [A Textbook of Translation]. Shanghai Foreign Language Education Press 41-44.&lt;br /&gt;
&lt;br /&gt;
Wei Jianhua韦建华. (2008). 英语电影片名翻译原则与方法探讨[On the Principles and Methods of English Film Title Translation].电影文学Movie Literature (03) 121-122.&lt;br /&gt;
&lt;br /&gt;
Munday, Jeremy .(2016). [Introducing Translation Studies:Theories and Application]. London and New York: Routledge 73.&lt;br /&gt;
&lt;br /&gt;
Vermeer, H. J.(1987). [What Does It Mean to Translate?]. Indian Journal of Applied Linguistics 13 (2) 25-33. &lt;br /&gt;
&lt;br /&gt;
Nord, C. (1991). [Translation as a Purposeful Activity--Functionalist Approaches Explained] .Shanghai Foreign Language Education Press 12-36&amp;amp;129.&lt;br /&gt;
&lt;br /&gt;
Baidu Encyclopaedia 百度百科 翻译目的论https://baike.baidu.com/item/翻译目的论&lt;br /&gt;
&lt;br /&gt;
Reiss, K. &amp;amp; Hans J. Vermeer, H. (1984). [Groundwork for a General Theory of Translation].Tubingen: Niemeyer 101.&lt;br /&gt;
&lt;br /&gt;
Zheng Yunqi &amp;amp; WangXiaodong. 郑玉琪,王晓冬. (2006) 小议电影片名的英汉翻译原则[On the English-Chinese Translation of Movie Titles].中国翻译Chinese Translators Journal 27(02) 66-68.&lt;br /&gt;
&lt;br /&gt;
Feng Qinghua冯庆华. (2000). 实用翻译教程[A Practical Course Book on Translation].上海译文出版社Shanghai Translation Press.&lt;br /&gt;
&lt;br /&gt;
He Aixiang何爱香. ( 2020). 中国电影片名的新修辞翻译策略探究[Translation Strategies for Chinese Movie Titles --A Rhetoric Perspective]江南大学学报(人文社会版), Journal of Jiannan University (Humanities&amp;amp;Social Sciences) 19(02) 103-107.&lt;br /&gt;
&lt;br /&gt;
Ma Yuanyuan马媛媛. (2010). 翻译目的论视角下的英文电影片名的汉译 [Translation of English Film Titles from the Perspective of Skopos Theory]. 黑龙江大学Heilongjiang University 28-29.&lt;br /&gt;
&lt;br /&gt;
Douban Movie website 豆瓣电影网 https://movie.douban.com/&lt;br /&gt;
&lt;br /&gt;
==The Study of Brand Name Translation 谭鑫洁	Tan Xinjie==&lt;br /&gt;
&amp;lt;center&amp;gt;谭鑫洁 Tan Xinjie，202020080641.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With acceleration of economic globalization, more enterprises have been active in the global market. Brand name translation plays a significant role in the international trade. A successful brand name is the direct element to attract the customers’ attention and evoke their desire to buy the products, is gravely important to the sales volume of commodities. Based on many convincing examples, this paper introduces the definition and functions of brand names, states the principles of the brand names translation, offers the available and useful methods for the translation of brand names.&lt;br /&gt;
&lt;br /&gt;
With acceleration of economic globalization, more enterprises have been active in the global market. Brand name translation plays a significant role in the international trade. A successful brand name is the direct element to attract the customers’ attention and evoke their desire to buy the products which is gravely important to the sales volume of commodities. Based on many convincing examples, this chapter introduces the definition and functions of brand names, states the principles of their translation, offers the available and useful methods for their translation.--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 08:02, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
Brand name translation; Principle; Methods&lt;br /&gt;
&lt;br /&gt;
===商标翻译研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化进程的加快，越来越多的企业活跃在全球市场中。商标翻译在国际贸易中起着举足轻重的作用。一个好的译名是吸引顾客注意，并唤起他们购买商品欲望的直接因素，对商品的销售量有着极其重要的影响。本文结合许多令人信服的例子，介绍商标的定义和功能，阐述商标翻译的原则，提供有用的商标翻译方法。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
商标翻译；原则；方法&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
In the development of human society, the emergence of commodities gives rise to the birth of brand name. The contemporary Chinese dictionary defines the brand name as “it is the mark, sign (words like drawing and patterning) which are printed on the cover of the product or the packaging”, A brand name is the most prominent mark of a commodity, and can leave deep impression upon the mind of shoppers and arouse their desires to buy the related commodity. (Lu Wenchan 2018,2)&lt;br /&gt;
&lt;br /&gt;
In the development of human society, the emergence of commodities gives rise to the birth of brand name. The contemporary Chinese dictionary defines the brand name as “it is the mark, sign (words like drawing and patterning) which are printed on the cover of the product or the packaging”. A brand name is the most prominent mark of a commodity and can leave deep impression upon the mind of shoppers and arouse their desires to buy the related commodity. (Lu Wenchan 2018,2)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 08:02, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The import and export of commodities gives rise to the birth of brand name translation. A good brand name translation may bring an enterprise huge wealth, whereas a bad one may let an enterprise suffer great loss. Therefore, an enterprise's future is closely linked with brand name translation, and it is valuable to have a research on how to translate brand names properly. At the same time, brand name translation can widen the linguistic research field, enrich the connotation of linguistics, and accelerate the combination of linguistic theoretic research and its practical application. &lt;br /&gt;
&lt;br /&gt;
The import and export of commodities gives rise to the birth of brand name translation. A good brand name translation may bring an enterprise huge wealth, whereas a bad one may let an enterprise suffer great loss. Therefore, an enterprise's future is closely linked with brand name translation, and it is valuable to have a research on how to translate brand names properly. At the same time brand name translation can widen the linguistic research field, enrich the connotation of linguistics, and accelerate the combination of linguistic theoretic research and its practical application. --[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 08:02, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In this paper, first part is introduction of this paper. The value of this research is mainly introduced in first part. Second part introduces the definition and functions of brand name and brand name translation. Third part gives concrete examples to analyze five principles brand name translation (the principle of following the target customers' culture, the principle of using concise words, the principle of grasping the characteristics of commodities, the principle of considering the target consumers’ aesthetic preference, &amp;quot;Three Principles of Beauty&amp;quot;). Fourth part gives examples about brand name to introduce five methods in brand name translation (transliteration, literal translation, free translation, combinative translation, non-translation). The last part of this paper is conclusion emphasizing the theme of this research. &lt;br /&gt;
&lt;br /&gt;
First part is the introduction of this chapter. The value of this research is mainly introduced in first part. Second part introduces the definition and functions of brand name and its translation. Third part gives concrete examples to analyze five principles of brand name translation (the principle of following the target customers' culture, the principle of using concise words, the principle of grasping the characteristics of commodities, the principle of considering the target consumers’ aesthetic preference, &amp;quot;Three Principles of Beauty&amp;quot;). Fourth part gives examples about brand name to introduce five methods in brand name translation (transliteration, literal translation, free translation, combinative translation, non-translation). The last part of this chapter is conclusion emphasizing the theme of this research. --[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====1.1 Brand and Its Name====&lt;br /&gt;
According to the European Community Trademark Regulation, “the brand is a name, symbol, sign, design, number or some combination of these elements used to identify commodities or services of the enterprise.”Brand is a kind of soft power and a part of the core competitiveness of an enterprise. A good brand can not only reflect the value of products, but also represent the corporate image. What’s more, it will attract consumers’ attention and promote the sales of the goods. (Jing Yang 2018,1) &lt;br /&gt;
&lt;br /&gt;
According to the European Community Trademark Regulation, “The brand is a name, symbol, sign, design, number or some combination of these elements used to identify commodities or services of the enterprise.”Brand is a kind of soft power and a part of the core competitiveness of an enterprise. A good brand can not only reflect the value of products, but also represent the corporate image. What’s more, it will attract consumers’ attention and promote the sales of the goods.(Jing Yang 2018,1) --[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Bhimrao M. Ghodeswar(2008: 4-12) remarks, “Branding is a set of marketing and communication methods that help to distinguish a company or products from competitors, aimed at creating a lasting impression in the minds of customers. The key components that form a brand's tool box include a brand’s identity, brand communication, brand awareness, brand loyalty and various branding strategies.” Therefore, a good brand name is especially important to the enterprise. (Lu Wenchan 2018,2)&lt;br /&gt;
&lt;br /&gt;
Bhimrao M. Ghodeswar(2008 4-12) remarks, “Branding is a set of marketing and communication methods that help to distinguish a company or products from competitors, aimed at creating a lasting impression in the minds of customers. The key components that form a brand's tool box include a brand’s identity, brand communication, brand awareness, brand loyalty and various branding strategies.” Therefore, a good brand name is especially important to the enterprise. (Lu Wenchan 2018,2)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:39, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====1.2 Brand Name Translation====&lt;br /&gt;
With the development of the global economy, China has become the most potential markets around world. More and more foreign products to enter the Chinese market and got the attention of the Chinese. At the same time, to compete with foreign products, many Chinese products have entered into the international market. &lt;br /&gt;
&lt;br /&gt;
With the development of the global economy, China has become the most potential markets around world. More and more foreign products enter the Chinese market and &lt;br /&gt;
have gotten the attention of the Chinese. At the same time, to compete with foreign products, many Chinese products have entered into the international market.--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
To participate in international competition, a good brand translation is extremely important. However, brand translation is not a simple conversion process from Source Language to Target Language, but an interlingual and intercultural communication, and often reflects culture, customs, economy, politics, religions and cultural aesthetics. In order to accurately translate the brand, the translators are required not only to have good language skills, but also to possess comprehensive knowledge of interlanguage and intercultural communication.&lt;br /&gt;
&lt;br /&gt;
To participate in international competition, a good brand translation is extremely important. However, brand translation is not a simple conversion process from source language to target language, but an interlingual and intercultural communication, and often reflects culture, customs, economy, politics, religions and cultural aesthetics. In order to accurately translate the brand, the translators are required not only to have good language skills, but also to possess comprehensive knowledge of interlanguage and intercultural communication.--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. The Principles of Brand Name Translation===&lt;br /&gt;
The purpose of brand name is to give publicity to commodities, stimulate consumption and boost the celebrity of the brand of the goods. Brand name translation is not a simple translation from one language to another language, it should reflect the commodities' information and embody enterprises' intelligence. But the same brand has different cultural connotations in different languages and cultures due to the cultural differences of different countries. Therefore, In order to promote the sales of the products, the translation of brand names should abide by the following principles. (Fade Wang 2012,3)&lt;br /&gt;
&lt;br /&gt;
The purpose of brand name is to give publicity to commodities, stimulate consumption and boost the celebrity of the brand of the goods. Brand name translation is not a simple translation from one language to another language. It should reflect the commodities' information and embody enterprises' intelligence. But the same brand has different cultural connotations in different languages and cultures due to the cultural differences of different countries. Therefore, in order to promote the sales of the products, the translation of brand names should abide by the following principles. (Fade Wang 2012,3)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====2.1 The Principle of Following the Target Customers' Culture====&lt;br /&gt;
In China people pursues auspicious and peaceful culture and like the characters that mean happiness, prosperity and auspiciousness, such as &amp;quot;金&amp;quot;, &amp;quot;美&amp;quot;, &amp;quot;福&amp;quot; and &amp;quot;佳 &amp;quot;. In order to conform to the aesthetic culture of Chinese consumers, when translating the brand names of products, translators consciously choose characters that Chinese consumers like, such as “Marlboro”(万宝路), “Carrefour”(家乐福), “Ford”(福特). (Liu Haiyan 2013,11)&lt;br /&gt;
&lt;br /&gt;
In China people pursue auspicious and peaceful culture and like the characters that mean happiness, prosperity and auspiciousness, such as &amp;quot;金&amp;quot;, &amp;quot;美&amp;quot;, &amp;quot;福&amp;quot; and &amp;quot;佳 &amp;quot;. In order to conform to the aesthetic culture of Chinese consumers, when translating the brand names of products, translators consciously choose characters that Chinese consumers like, such as “Marlboro”(万宝路), “Carrefour”(家乐福), “Ford”(福特). (Liu Haiyan 2013,11)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Different countries and areas have great differences in culture. Translators should pay more attention to cultural differences, avoiding misapprehension and antipathy. For example, many brand names in China contain the characters &amp;quot;dragon&amp;quot;, &amp;quot;phoenix&amp;quot;, &amp;quot;magpie&amp;quot;, &amp;quot;petrel&amp;quot; and so on, because in Chinese culture, dragon is the symbol of imperial power and nobility, magpie is a lucky bird, Petrel is the symbol of courage and strength. But in English culture dragon is an evil imaginary animal, and it arouse terror and aversion in people’s mind, magpie means &amp;quot;someone who chatters&amp;quot;, petrel is the symbol of disaster. (Liu Haiyan 2020,4)&lt;br /&gt;
&lt;br /&gt;
Different countries and areas have great differences in culture. Translators should pay more attention to cultural differences, avoiding misapprehension and antipathy. For example, many brand names in China contain the characters &amp;quot;dragon&amp;quot;, &amp;quot;phoenix&amp;quot;, &amp;quot;magpie&amp;quot;, &amp;quot;petrel&amp;quot; and so on, because in Chinese culture, dragon is the symbol of imperial power and nobility, magpie is a lucky bird, petrel is the symbol of courage and strength. But in English culture dragon is an evil imaginary animal, and it arouses terror and aversion in people’s mind, magpie means &amp;quot;someone who chatters&amp;quot;, petrel is the symbol of disaster. (Liu Haiyan 2020,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
People with different cultural backgrounds have different ideas about the same things because of the different moral criteria, religions, beliefs, and modes of thinking. For example, a clock brand name “金鸡牌闹钟”, which is originated from the Chinese saying “雄鸡报晓” meaning that cock heralds the break of a day, was once translated as “Golden Cock Alarming Clock”. However,“cock” in English also refers to male reproductive organ and is regarded as a taboo word. (Fade Wang,2012,2)&lt;br /&gt;
&lt;br /&gt;
People with different cultural backgrounds have different ideas about the same things because of the different moral criteria, religions, beliefs and modes of thinking. For example, a clock brand name “金鸡牌闹钟”, which is originated from the Chinese saying “雄鸡报晓” meaning that cock heralds the break of a day, was once translated as “Golden Cock Alarming Clock”. However,“cock” in English also refers to male reproductive organ and is regarded as a taboo word. (Fade Wang,2012,2)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 The Principle of Using Concise Words====&lt;br /&gt;
As commodities are to be sold to consumers, their brand names should be common, popular, concise and easy to understand and remember. Generally, English trademarks are not usually translated into Chinese more than four Chinese characters. (Feng Wang 2012,3).&lt;br /&gt;
&lt;br /&gt;
As commodities are to be sold to consumers, their brand names should be common, popular, concise and easy to understand and remember. Generally, English trademarks are not usually translated into Chinese more than four Chinese characters. (Feng Wang 2012,3).--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example, “Budweiser”, an American beer, is not translated as “百德威瑟”, but as “百威”, which makes people feel energetic and powerful after drinking it. “Bausch &amp;amp;Lomb”, an American eyewear brand, is translated into “博士伦”, which combines sound and meaning, as if wearing the glasses can be as knowledgeable as the doctor. “Hewlett-packard” is the world's largest electronic apparatus and notebook computer company, named after its founders, William Hewlett and David Packard. &amp;quot;Hewlett packard&amp;quot; was transliterated as “休利特-帕卡德公司”, but it was finally replaced by other brief translation “惠普”, which is both concise and easy to remember.Other examples are as follows: Marlboro (cigarette) —&amp;quot;马尔波罗&amp;quot;—&amp;quot;万宝路&amp;quot;、Mercedes-Benz (car) —&amp;quot;默赛德斯·本茨&amp;quot;—&amp;quot;奔驰&amp;quot;. The Chinese are familiar with “百威”, “万宝路”, “奔驰”, but few know what “百德威瑟”, “马尔波罗”, “默赛德斯·本茨” are referring to. The reason is that the original translation is long and difficult for Chinese. (Chen Yang,Wang Xiufeng 2018,2); (Zhang Lulu 2011,2)&lt;br /&gt;
&lt;br /&gt;
For example, “Budweiser”, an American beer, is not translated as “百德威瑟”, but as “百威”, which makes people feel energetic and powerful after drinking it. “Bausch &amp;amp;Lomb”, an American eyewear brand, is translated into “博士伦”, which combines sound and meaning, as if wearing the glasses can be as knowledgeable as the doctor. “Hewlett-packard” is the world's largest electronic apparatus and notebook computer company, named after its founders William Hewlett and David Packard. &amp;quot;Hewlett-packard&amp;quot; was transliterated as “休利特-帕卡德公司”, but it was finally replaced by other brief translation “惠普”, which is both concise and easy to remember.Other examples are as follows: Marlboro (cigarette) —&amp;quot;马尔波罗&amp;quot;—&amp;quot;万宝路&amp;quot;、Mercedes-Benz (car) —&amp;quot;默赛德斯·本茨&amp;quot;—&amp;quot;奔驰&amp;quot;. The Chinese are familiar with “百威”, “万宝路”, “奔驰”, but few know what “百德威瑟”, “马尔波罗”, “默赛德斯·本茨” are referring to. The reason is that the original translation is long and difficult for Chinese. (Chen Yang,Wang Xiufeng 2018,2); (Zhang Lulu 2011,2)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.3 The Principle of Grasping the Characteristics of Commodities====&lt;br /&gt;
Brand is a reflection of commodity and an important advertisement. Therefore, if the translation of brand name can represent the commodity’s characteristics and functions, it will make consumers impressed. &lt;br /&gt;
&lt;br /&gt;
A brand is a reflection of commodity and an important advertisement. Therefore, if the translation of brand name can represent the commodity’s characteristics and functions, it will make consumers impressed.--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example: The toothpaste brand “Colgate” was named after the company founder, William Colgate. Its Chinese name “高露洁” (Gao Lu Jie) might not sound like a perfect transliteration, but its meaning is unrivalled: “revealing superior cleanliness”. “Jie” indicates the type of the product (cleaning). “五粮液”(literally means the “essence of five grains”) makes people think of the wine that is brewed from grain; while “蒙牛”(literally means “Mongolian cows”) can be associated with the milk from Inner Mongolia. Brand names implies regional flavor. The Chinese famous brand &amp;quot;维维豆奶&amp;quot; is translated as &amp;quot;Soybean&amp;quot;, in which &amp;quot;Bean&amp;quot; refers to the soybean, and it reflects the attributes of the product.(Fade Wang 2012,2); (Jing Yang 2018,4)&lt;br /&gt;
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For example: the toothpaste brand “Colgate” was named after the company founder William Colgate. Its Chinese name “高露洁” (Gao Lu Jie) might not sound like a perfect transliteration, but its meaning is unrivalled: “revealing superior cleanliness”. “Jie” indicates the type of the product (cleaning). “五粮液”(literally means the “essence of five grains”) makes people think of the wine that is brewed from grain, while “蒙牛”(literally means “Mongolian cows”) can be associated with the milk from Inner Mongolia. Brand names implie regional flavor. The Chinese famous brand &amp;quot;维维豆奶&amp;quot; is translated as &amp;quot;Soybean&amp;quot;, in which &amp;quot;Bean&amp;quot; refers to the soybean, and it reflects the attributes of the product.(Fade Wang 2012,2); (Jing Yang 2018,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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Some commodities’ brand names bear the marks of the regions in which they are produced so as to raise the celebrity of the concerned places. For example, the two famous beer brand names implying the manufacturing places in China are “青岛啤酒”(Tsing Tao Beer) and “燕京啤酒”(Yangjing Beer)(Fade Wang 2012,2).&lt;br /&gt;
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Some commodities’ brand names bear the marks of the regions in which they are produced so as to raise the celebrity of the concerned places. For example, two famous beer brand names implying the manufacturing places in China are “青岛啤酒”(Tsing Tao Beer) and “燕京啤酒”(Yangjing Beer)(Fade Wang 2012,2).--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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====2.4 The Principle of Considering the Target Consumers’ Aesthetic Preference====&lt;br /&gt;
Chinese translation of the American cosmetic brand “Revlon” is so beautiful (Lu Hua Nong 露华浓). On the one hand, &amp;quot;Lu Hua Nong&amp;quot; serves as a sound transcription of &amp;quot;Revlon&amp;quot;, On the other hand, the translation of these three syllables provides an apt meaning for the brand name. These three characters come from the celebrated quatrain by the Tang poet Li Bai &amp;quot;云想衣裳花想容，春风拂槛露华浓&amp;quot;, which originally describes the elegant female beauty of Yang Guifei. Translators skillfully combine the aesthetic connotation of Chinese culture with the pronunciation of the original trademark so as to create a trademark translation with Chinese characteristics. Bayerisch Motoren Werke(BMW) is translated into “宝马”, which quotes from an old saying “人中吕布，马中赤兔；宝马予英雄，鲜花赠美人”, Since ancient times, a good horse has been a symbol of wealth. Modern people pursue a good car just as ancient people crave a good horse. Therefore, the translated name is perfect in  pronunciation, meaning and product characteristics. There are more examples such as “Make up for ever”- “浮生若梦”(from Li Bai “浮生若梦，为欢几何”), “Innisfree”- “悦诗风吟”(from Ye Zhi “The Lake Isle of Innisfree”), “Lexus”- “凌志”(from Mao Zedong “久有凌云志，重上井冈山”), “IKEA”- “宜家”,(from the Book of Songs: &amp;quot;桃之夭夭，灼灼其华。之子于归，宜其室家&amp;quot;, which perfectly implies the good attributes of &amp;quot;home&amp;quot;)(Victor Mair 2019);(Ogilvy Ao Mei 2017);(Liu Haiyan 2020,3); (Li Jianzi 2018).&lt;br /&gt;
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Chinese translation of the American cosmetic brand “Revlon” is so beautiful (Lu Hua Nong 露华浓). On the one hand, &amp;quot;Lu Hua Nong&amp;quot; serves as a sound transcription of &amp;quot;Revlon&amp;quot;. On the other hand, the translation of these three syllables provides an apt meaning for the brand name. These three characters come from the celebrated quatrain by the Tang poet Li Bai &amp;quot;云想衣裳花想容，春风拂槛露华浓&amp;quot;, which originally describes the elegant female beauty of Yang Guifei. Translators skillfully combine the aesthetic connotation of Chinese culture with the pronunciation of the original trademark so as to create a trademark translation with Chinese characteristics. Bayerisch Motoren Werke(BMW) is translated into “宝马”, which quotes from an old saying “人中吕布，马中赤兔；宝马予英雄，鲜花赠美人”. Since ancient times a good horse has been a symbol of wealth. Modern people pursue a good car just as ancient people crave a good horse. Therefore, the translated name is perfect in  pronunciation, meaning and producting characteristics. There are more examples such as “Make up for ever”- “浮生若梦”(from Li Bai “浮生若梦，为欢几何”), “Innisfree”- “悦诗风吟”(from Ye Zhi “The Lake Isle of Innisfree”), “Lexus”- “凌志”(from Mao Zedong “久有凌云志，重上井冈山”), “IKEA”- “宜家”,(from the Book of Songs: &amp;quot;桃之夭夭，灼灼其华。之子于归，宜其室家&amp;quot;, which perfectly implies the good attributes of &amp;quot;home&amp;quot;)(Victor Mair 2019);(Ogilvy Ao Mei 2017);(Liu Haiyan 2020,3); (Li Jianzi 2018).--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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====2.5 “Three Principles of Beauty”====&lt;br /&gt;
Professor Xu Yuanchong put forward the &amp;quot;Three Principles of Beauty&amp;quot; for poetry translation: including beauty in sense, that is, the beauty of language use and the beauty of words meaning; beauty in sound, that is, the beauty of rhythm; beauty in form, that is, the beauty of language form. However, the standard also applies to brand name translation. (Duan Wenpo, Guo Ru 2018,1)&lt;br /&gt;
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Professor Xu Yuanchong put forward the &amp;quot;Three Principles of Beauty&amp;quot; for poetry translation: including beauty in sense, that is, the beauty of language use and the beauty of words meaning; beauty in sound, that is, the beauty of rhythm; beauty in form, that is, the beauty of language form. As far as I'm concerned, the standard also applies to brand name translation. (Duan Wenpo, Guo Ru 2018,1)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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=====2.5.1 The Beauty in Sense=====&lt;br /&gt;
Through the characteristics of the product, as well as the experience and perception it can bring to consumers to translate the brand name of the product, so as to make the translation of the brand closer to its own meaning, the meaning of the brand name easy to understand, and make the translation more vivid and flexible. For example, “NIKE”(耐克) is the goddess of victory in Greek mythology, symbolizing victory and light. It gives people a sence of confidence. In the process of translation, the translator should fully grasp the characteristics of the goods, so that consumers can understand the goods. (Zhang Wenfei 2020,3)&lt;br /&gt;
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Through the characteristics of the product, as well as the experience and perception it can bring to consumers to translate the brand name of the product, so as to make the translation of the brand closer to its own meaning, the meaning of the brand name easy to understand, and make the translation more vivid and flexible. For example, “NIKE”(耐克) is the goddess of victory in Greek mythology, symbolizing victory and light. It gives people a sence of confidence. In the process of translation the translator should fully grasp the characteristics of the goods so that consumers can understand the goods. (Zhang Wenfei 2020,3)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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=====2.5.2 Beauty in Sound=====&lt;br /&gt;
The translated brand is loud in pronunciation, clear in rhythm and full of musical sense, giving people the enjoyment of auditory beauty. For example, “Nokia”(诺基亚), “Samsung”(三星), “Nestle”(雀巢), “HP&amp;quot;(惠普), “Della”(戴尔), “SONY”(索尼) and so on . In this way, the translation don’t lose the beauty in sound of the brand and sounds beautiful and concise, thus reflecting the characteristics of the product. When a Chinese brand is translated into an English brand, it is usually translated directly in pinyin. This method not only retains the phonetic beauty of the brand, but also shows the exotic feelings and characteristics of the product.  (Zhang Wenfei 2020,3)&lt;br /&gt;
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The translated brand is loud in pronunciation, clear in rhythm and full of musical sense, giving people the enjoyment of auditory beauty. For example, “Nokia”(诺基亚), “Samsung”(三星), “Nestle”(雀巢), “HP&amp;quot;(惠普), “Della”(戴尔), “SONY”(索尼) and so on . In this way, the translation don’t lose the beauty in sound of the brand and sounds beautiful and concise, thus reflecting the characteristics of the product. When a Chinese brand is translated into English, it is usually translated directly in pinyin. This method not only retains the phonetic beauty of the brand, but also shows the exotic feelings and characteristics of the product.  (Zhang Wenfei 2020,3)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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=====2.5.3 Beauty in Form=====&lt;br /&gt;
Brand name should be short in shape and easy to remember, which can leave a deep impression on consumers. Non-translation can be used to convey the beauty of the form. The method means to express the meaning of the source language without any equivalent word of the target language, that is to say, without any conversion between the two languages. For example, “SK-II”, “LG”, “IBM” (Wang Hengen, 2009,3).&lt;br /&gt;
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Brand names should be short in shape and easy to remember, which can leave a deep impression on consumers. Non-translation can be used to convey the beauty of the form. The method means to express the meaning of the source language without any equivalent word of the target language, that is to say, without any conversion between the two languages. For example, “SK-II”, “LG”, “IBM” (Wang Hengen, 2009,3).--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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===3.The methods of brand name translation===&lt;br /&gt;
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====3.1 Transliteration====&lt;br /&gt;
Transliteration is a translation method that transcribes the same or similar pronunciation between the original and target language to translate the name of the product. Though transliteration is simple, it can not only retain the original rhyme, but also well reflect the brand's cultural connotation.  (Lu Wenchan 2018,4)&lt;br /&gt;
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Transliteration is a translation method that transcribes the same or similar pronunciation between the original and target languages to translate the name of the product. Though transliteration is simple, it can not only retain the original rhyme, but also well reflect the brand's cultural connotation.  (Lu Wenchan 2018,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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Transliteration is quite common in the process of translating foreign trademark names into Chinese. Taking some products for example, the Germanic auto “Benz” was translated as “朋驰” or “本茨” in Taiwan, although this version is homophonic to the original name “Benz”, it sounds dull and lack of implied meaning. The present version of it in the mainland is “奔驰”, which is not only similar to the original pronunciation, but also give customers the impression that the car can run very fast, thus impressing the buyers with the excellent performance of such cars. A medicine called &amp;quot;Quick&amp;quot;, is translated to &amp;quot;Kuai Ke&amp;quot; in Chinese, which is reminiscent to the fact that the medicine will quickly overcome disease. The brand name of food “Subway” is translated into“Sai Bai Wei”，the last characters “Bai Wei” mean “100 flavours”— a hint on showing what the brand offers to its customers, somewhere that provides everyone with their own favourite flavours. There are also some brand names which only conveys the pronunciation and do not have any meaning or function. Such as ,“Kodak”(Keda), “Intel”(Yingteer), &amp;quot;Puma&amp;quot;(Biao Ma), &amp;quot;Parker&amp;quot;(Pai Ke), &amp;quot;Lincoln&amp;quot;（Lin Ken), &amp;quot;Canon&amp;quot; (Jia Neng). Chinese consumers, seeing these transliterated brand names, would probably have the first impression that the merchandise is made in foreign countries. It would arouse the psychological demand of some consumers and encourage them to purchase greatly. (Fade Wang 2012,2);  (Jing Yang 2018,4); )(Jing Yang 2018,4)&lt;br /&gt;
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Transliteration is quite common in the process of translating foreign trademark names into Chinese. Taking some products for example, the Germanic auto “Benz” was translated as “朋驰” or “本茨” in Taiwan, although this version is homophonic to the original name “Benz”, it sounds dull and lacks implied meaning. The present version of it in the mainland is “奔驰”, which is not only similar to the original pronunciation, but also give customers the impression that the car can run very fast, thus impressing the buyers with the excellent performance of such cars. A medicine called &amp;quot;Quick&amp;quot; is translated to &amp;quot;Kuai Ke&amp;quot; in Chinese, which is reminiscent to the fact that the medicine will quickly overcome disease. The brand name of food “Subway” is translated into“Sai Bai Wei”，the last characters “Bai Wei” mean “100 flavours”— a hint on showing what the brand offers to its customers, somewhere that provides everyone with their own favourite flavours. There are also some brand names which only convey the pronunciation and do not have any meaning or function. Such as ,“Kodak”(Keda), “Intel”(Yingteer), &amp;quot;Puma&amp;quot;(Biao Ma), &amp;quot;Parker&amp;quot;(Pai Ke), &amp;quot;Lincoln&amp;quot;（Lin Ken), &amp;quot;Canon&amp;quot; (Jia Neng). Chinese consumers, seeing these transliterated brand names, would probably have the first impression that the merchandise is made in foreign countries. It would arouse the psychological demand of some consumers and encourage them to purchase greatly. (Fade Wang 2012,2);  (Jing Yang 2018,4); )(Jing Yang 2018,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:56, 18 December 2020 (UTC)&lt;br /&gt;
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It is common for Chinese brand names to use “Hanyu Pinyin” for translation. Hanyu means the Chinese language, pin means &amp;quot;spell&amp;quot; and yin means &amp;quot;sound&amp;quot;. In Chinese pronunciation, transliteration is mainly applicable to our country's names, merchandises with ethnic style. For example, “Haier” is transliterated from “海尔” and is homophonous with “higher”. This translated brand name is easily associated with the advertisement of “Haier”: “Haier, higher and higher”. The well-known drink brand “娃哈哈” is simply translated as “Wahaha”.  (Fade Wang 2012,3)&lt;br /&gt;
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It is common for Chinese brand names to use “Hanyu Pinyin” for translation. Hanyu means the Chinese language, pin means &amp;quot;spell&amp;quot; and yin means &amp;quot;sound&amp;quot;. In Chinese pronunciation transliteration is mainly applicable to our country's names, merchandises with ethnic style. For example, “Haier” is transliterated from “海尔” and is homophonous with “higher”. This translated brand name is easily associated with the advertisement of “Haier”: “Haier, higher and higher”. The well-known drink brand “娃哈哈” is simply translated as “Wahaha”.  (Fade Wang 2012,3)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:24, 18 December 2020 (UTC)&lt;br /&gt;
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====3.2 Literal Translation====&lt;br /&gt;
The literal translation means that using the corresponding target words directly according to the original brand name meaning. When we use the literal translation, it is usually the brand name which has a precise meaning, good cultural implication and the function is equivalent. Excellent literal translation not only keeps the original content, but also keeps the original form, especially the original metaphor, image and national, local characteristics.  (Lu Wenchan 2018,4)&lt;br /&gt;
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The literal translation means using that the corresponding target words directly according to the original brand name meaning. When we use the literal translation, it is usually the brand name which has a precise meaning, good cultural implication and its function is equivalent. Excellent literal translation not only keeps the original content, but also keeps the original form, especially the original metaphor, image and national, local characteristics.  (Lu Wenchan 2018,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:27, 18 December 2020 (UTC)&lt;br /&gt;
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A great number of brand names are translated into another language by using literal translation. Only if there are correspondent words in the target language, literal translation can be applied. Taking a red wine brand &amp;quot;Dynasty&amp;quot; as an example, it is translated into “Wangchao”. In Chinese, “Wangchao”means power and wealth. It gives the customers an illusion that if they drink the red wine “Wangchao”, their status and taste will improve accordingly. It stimulates the customers to buy the product inadvertently. The car brand name “Bluebird” is translated into “Lanniao” (Bluebird). The brand name “Bluebird” originates from the pantomime “Bluebird” which is created by the Belgian author. In the pantomime, the “Bluebird” is the symbol of “the future happiness”. In China, it represents the object which can be the bailment of our “lovesickness”. Other examples such as Playboy (men’s wear) “花花公子”, Wild Turkey (whiskey) “野火鸡” , Blue Ribbon beer “蓝带” 啤酒, Redbull (drink) “红牛”, all of these translated brand names are very suitable for their goods. (Lu Wenchan 2018,4); (Lu Wenchan 2018,4);  (Zhang Shu 2018,4)&lt;br /&gt;
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A great number of brand names are translated into another language by using literal translation. Only if there are correspondent words in the target language, literal translation can be applied. Taking a red wine brand &amp;quot;Dynasty&amp;quot; as an example, it is translated into “Wangchao”. In Chinese, “Wangchao”means power and wealth. It gives the customers an illusion that if they drink the red wine “Wangchao”, their status and taste will improve accordingly. It stimulates the customers to buy the product inadvertently. The car brand name “Bluebird” is translated into “Lanniao” (Bluebird). The brand name “Bluebird” originates from the pantomime “Bluebird” which is created by the Belgian author. In the pantomime, the “Bluebird” is the symbol of “the future happiness”. In China it represents the object which can be the bailment of our “lovesickness”. Other examples such as Playboy (men’s wear) “花花公子”, Wild Turkey (whiskey) “野火鸡” , Blue Ribbon beer “蓝带” 啤酒, Redbull (drink) “红牛”, all of these translated brand names are very suitable for their goods. (Lu Wenchan 2018,4); (Lu Wenchan 2018,4);  (Zhang Shu 2018,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:27, 18 December 2020 (UTC)&lt;br /&gt;
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In the above examples, they have the same referential meaning and cultural implication in the target language and source language which can associate the customers with the same feelings of China and western countries. However, there are also some circumstances that we cannot use the literal translation accounting of the different cultural message. For example, “紫罗兰”, a man’s clothing company, is translated into “Pansy”, but the definition of the word in the dictionary: an offensive word for homosexual man. So sales of the brand is poor. Other examples such as “Bianfu”(bat) , “Baixiang”(white elephant) , “Jinji”(Golden Cock), all are failure translation because of the different cultural implication. Therefore, it is important for us to pay more attention to the connotation and association of the brand name in the process of translation to avoid the cultural clashes. Translators should think deeply to find out what these English expressions really mean in authoritative reference books to minimize the mistakes in literal translation.  (Zhang Jin 2019,2);  (Lu Wenchan 2018,4)&lt;br /&gt;
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In the above examples, they have the same referential meaning and cultural implication in the target language and source language which can associate the customers with the same feelings of China and western countries. However, there are also some circumstances that we cannot use the literal translation accounting of the different cultural message. For example, “紫罗兰”, a man’s clothing company, is translated into “Pansy”, but the definition of the word in the dictionary: an offensive word for homosexual man. So sales of the brand are poor. Other examples such as “Bianfu”(bat) , “Baixiang”(white elephant) , “Jinji”(Golden Cock), all are failure translation because of the different cultural implication. Therefore, it is important for us to pay more attention to the connotation and association of the brand name in the process of translation to avoid the cultural clashes. Translators should think deeply to find out what these English expressions really mean in authoritative reference books to minimize the mistakes in literal translation.  (Zhang Jin 2019,2);  (Lu Wenchan 2018,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:27, 18 December 2020 (UTC)&lt;br /&gt;
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====3.3 Free translation====&lt;br /&gt;
When both sounds and meaning can’t show the value of the product, it is a best choice to use the free translation. The free translation is also called “paraphrasing translation”, namely using similar and related words to translate brand name in the target language pronunciation. Free translation has the features of being vivid and impressive, which retains the original meaning. What's more, free translation is able to deliver the aesthetic and value orientation of the products. (Lu Wenchan 2018,4)&lt;br /&gt;
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When both sounds and meaning can’t show the value of the product, the best choice is to use the free translation. The free translation is also called “paraphrasing translation”, namely using similar and related words to translate brand name in the target language pronunciation. Free translation has the features of being vivid and impressive, which retains the original meaning. What's more, free translation is able to deliver the aesthetic and value orientation of the products. (Lu Wenchan 2018,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:30, 18 December 2020 (UTC)&lt;br /&gt;
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Here are some instances such as &amp;quot;Rejoice&amp;quot;, its translation is &amp;quot;Piao Rou&amp;quot;. Rejoice means joy and happiness, and the brand name translation indicates hair will become smooth after using the shampoo. So translators fully explore its connotations of the brand name. A soap called “Safeguard” is translated into “Shu Fu Jia”, “Shu” gives a refreshing and comfortable feel; “Fu” means “skin”, which shows the commodity's function; “Jia”expresses the using effect. The translation of many brand names named adopts free translation method, for instance, “葵花” (Sunflower), “百灵” (Lark), “Pioneer” (先锋), “Skinice”(肤美灵).  (Jing Yang 2018,5); (Jing Yang 2018, 4)&lt;br /&gt;
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Here are some instances such as &amp;quot;Rejoice&amp;quot;, its translation is &amp;quot;Piao Rou&amp;quot;. Rejoice means joy and happiness, and the brand name translation indicates hair will become smooth after using the shampoo. So translators fully explore its connotations of the brand name. A soap called “Safeguard” is translated into “Shu Fu Jia”, “Shu” gives a refreshing and comfortable feel; “Fu” means “skin”, which shows the commodity's function; “Jia”expresses the using effect. The translation of many brand names adopts free translation method, for instance, “葵花” (Sunflower), “百灵” (Lark), “Pioneer” (先锋), “Skinice”(肤美灵).  (Jing Yang 2018,5); (Jing Yang 2018, 4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:30, 18 December 2020 (UTC)&lt;br /&gt;
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However, owing to the different cultural system, some words have the same referential meaning with different associative meaning, sometimes; even the referential meaning is different. For example, If “芳草” is transliterated as “Fangcao”, it would bring antipathy to target readers, because “fang” in English means venomous tooth of a snake and “cao” sounds like “chaos.”, so “Fragrance Grass” should be a better translation for this brand name.(Fade Wang 2012,4).&lt;br /&gt;
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However, owing to the different cultural systems, some words have the same referential meaning with different associative meaning, sometimes; even the referential meaning is different. For example, If “芳草” is transliterated as “Fangcao”, it would bring antipathy to target readers, because “fang” in English means venomous tooth of a snake and “cao” sounds like “chaos.”, so “Fragrance Grass” should be a better translation for this brand name.(Fade Wang 2012,4)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:30, 18 December 2020 (UTC)&lt;br /&gt;
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====3.4 Combinative Translation====&lt;br /&gt;
Combinative Translation is a combination of transliteration, literal Translation and liberal translation. This method is a bit more difficult for translators to master and challenges their creative ability. It requires that its meaning can indicate the characteristic and function of the product. Consumers can have nice association from the pronunciation and meaning of the translated brand name.&lt;br /&gt;
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Combinative Translation is a combination of transliteration, literal Translation and liberal translation. This method is a bit more difficult for translators to master and challenges their creative ability. It requires that its meaning can indicate the characteristic and function of the product. Consumers can have a nice association from the pronunciation and meaning of the translated brand name--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:32, 18 December 2020 (UTC)&lt;br /&gt;
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“Coca-Cola” is translated as “可口可乐”. The translator by using free translation method translate it as “可口” which means “very pleasant to people’s taste”, because as for beverage, people would attach importance to the feeling of the taste. The second part is transliterated as “可乐”. The version “可口可乐” sufficiently implies the characteristic and function of the beverage: it sure can give you nice flavor and pleasure. The &amp;quot;Goldlion&amp;quot; is translated into &amp;quot;Jin Li Lai&amp;quot;, which is a good translation. As we all know, &amp;quot;lion&amp;quot; means &amp;quot;Shi Zi&amp;quot;&amp;quot; in Chinese, but the pronunciation of &amp;quot;Lion&amp;quot; is similar to the Chinese &amp;quot;Shi&amp;quot;, and &amp;quot;Shi&amp;quot; means &amp;quot;Lose&amp;quot; in Chinese, then the businessmen will think &amp;quot;lose&amp;quot; unlucky. When it is translated as &amp;quot;Jin Li Lai&amp;quot;, it means wealth and good luck, and the consumers' psychology is met satisfyingly. Other examples of this type are as follows: “Nike”(耐克), “Unilever”(联合利华), “Uniqlo”(优衣库), “Revlon”(露华浓), “Volkswagen”(大众) and so on. (Fade Wang 2012,4);  (Jing Yang 2018,5)&lt;br /&gt;
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“Coca-Cola” is translated as “可口可乐”. The translator by using free translation method translate it as “可口” which means “very pleasant to people’s taste”, because as for beverage, people would attach importance to the feeling of the taste. The second part is transliterated as “可乐”. The version “可口可乐” sufficiently implies the characteristic and function of the beverage: it surely can give you nice flavor and pleasure. The &amp;quot;Goldlion&amp;quot; is translated into &amp;quot;Jin Li Lai&amp;quot;, which is a good translation. As we all know, &amp;quot;lion&amp;quot; means &amp;quot;Shi Zi&amp;quot;&amp;quot; in Chinese, but the pronunciation of &amp;quot;Lion&amp;quot; is similar to the Chinese &amp;quot;Shi&amp;quot;, and &amp;quot;Shi&amp;quot; means &amp;quot;Lose&amp;quot; in Chinese, then the businessmen will think &amp;quot;lose&amp;quot; unlucky. When it is translated as &amp;quot;Jin Li Lai&amp;quot;, it means wealth and good luck, and the consumers' psychology is met satisfyingly. Other examples of this type are as follows: “Nike”(耐克), “Unilever”(联合利华), “Uniqlo”(优衣库), “Revlon”(露华浓), “Volkswagen”(大众) and so on. (Fade Wang 2012,4);  (Jing Yang 2018,5)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:32, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3.5 Non-translation====&lt;br /&gt;
Due to the differences in Chinese and English, there are also some exceptions, when some brands enter a foreign culture, they choose to remain their original brand name, and this situation is called “non-translation” (Jing Yang,2018,5). &lt;br /&gt;
&lt;br /&gt;
Due to the differences in Chinese and English, there are also some exceptions, when some brands enter a foreign culture, they choose to remain their original brand names, and this situation is called “non-translation” (Jing Yang,2018,5).--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:34, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
On many occasions, some brands are made up of letters, numbers, or combination of the two, after entering a foreign market with their original forms, for eye-catching and they are usually easy to be remembered. For example, we are all familiar with the &amp;quot;999&amp;quot;medicines, &amp;quot;IBM&amp;quot; computers, &amp;quot;TCL&amp;quot; electronic products, &amp;quot;LG&amp;quot; Electronics, “iphone”, “ipad” and so on. Non-translation avoids using the equivalences in the target language and leave the original ones untranslated. There are some brand names unifying intercultural communications by short forms which have great stability and maintain the original and profound meaning at any time.  (Zhang Jin 2019,2)&lt;br /&gt;
&lt;br /&gt;
On many occasions, some brands are made up of letters, numbers, or combination of the two, after entering a foreign market with their original forms, for eye-catching and they are usually easy to be remembered. For example, we are all familiar with the &amp;quot;999&amp;quot;medicines, &amp;quot;IBM&amp;quot; computers, &amp;quot;TCL&amp;quot; electronic products, &amp;quot;LG&amp;quot; Electronics, “iphone”, “ipad” and so on. Non-translation avoids using the equivalences in the target language and leaves the original ones untranslated. There are some brand names unifying intercultural communications by short forms which have great stability and maintain the original and profound meaning at any time.  (Zhang Jin 2019,2)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:34, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===4.Conclusion===&lt;br /&gt;
In the age of economic globalization, in order to occupy the international market and attract customers, brand name and its translation are very important. Brand name translation is not only a simple replacement between two languages, but also a cultural combination in two different languages.&lt;br /&gt;
&lt;br /&gt;
In the age of economic globalization, in order to occupy the international market and attract customers, brand name and its translation are very important. Brand name translation is not only a simple replacement between two languages, but also a cultural combination in two different languages.--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:36, 18 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
From this thesis, the following conclusions can be reached: &lt;br /&gt;
&lt;br /&gt;
First, brand name translation should follow the five principles mentioned in this paper. If the brand name translation follows the principle of following the target customers' culture, it will be easier for customers to understand the product and buy it. If the brand name translation follows the principle of using concise words and the princple of grasping the characteristic of commodities, it will make consumers impressed. If the brand name translation follows the principle of considering the target consumers’ aesthetic preference and &amp;quot;Three Principles of Beauty&amp;quot;, product sales will increase.&lt;br /&gt;
&lt;br /&gt;
First, brand name translation should follow the five principles mentioned in this chapter. If the brand name translation follows the principle of following the target customers' culture, it will be easier for customers to understand the product and buy it. If the brand name translation follows the principle of using concise words and the princple of grasping the characteristic of commodities, it will make consumers impressed. If the brand name translation follows the principle of considering the target consumers’ aesthetic preference and &amp;quot;Three Principles of Beauty&amp;quot;, product sales will increase.--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Second, brand name translation can use the five methods: transliteration, literal translation, free translation, combinative translation, non-translation.&lt;br /&gt;
&lt;br /&gt;
Brand name relates to the image of the enterprise and business opportunities, which is vital for the source countries to further explore the international market. Brand name translation is one of intercultural translations. Translators need to stand on a level of intercultural translations and have observant awareness of cross culture. At the same time, they need to respect every ethnic customs and use correct methods and skills of translation to make brand name into customers hearts. Thereby, manufacturers can promote consumption and improve the interests of enterprises.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Brand name relates to the image of the enterprise and business opportunities, which is vital for the source countries to further explore the international market.  It is one of intercultural translations. Translators need to stand on a level of intercultural translations and have observant awareness of translation cross culture. At the same time, they need to respect every ethnic customs and use correct methods and skills of translation to make brand name into customers hearts. Thereby, manufacturers can promote consumption and improve the interests of enterprises.--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1]Chen Yang, Wang Xiufeng. Translation of Chinese-English Trademark Names and their Cultural Connotations [J]. Comparative Research on Cultural Innovation, 2012,2(17):68-70.&lt;br /&gt;
&lt;br /&gt;
[2]Duan Wenpo, Guo Ru. Reappearance of &amp;quot;Three Beauty&amp;quot; in Trademark Translation and Analysis of Translation Methods [J]. Innovation and Entrepreneurship Theory Research and Practice, 2012,1(14):110-112.&lt;br /&gt;
&lt;br /&gt;
[3]Fade Wang. An Approach to the Translation of Brand Names[J]. Theory and Practice in Language Studies,2012,2(9). &lt;br /&gt;
&lt;br /&gt;
[4]Jing Yang. Study on Brand Name Translation from the Perspective of Cultural Difference[A]. Research Institute of Management Science and Industrial Engineering.Proceedings of 2018 International Conference on Arts, Linguistics, Literature and Humanities (ICALLH 2018)[C].Research Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:6.&lt;br /&gt;
&lt;br /&gt;
[5]Liu Haiyan. Analysis of Chinese Translation Skills of English Trademark Names [J]. English Square (Academic Research),2013(09):8-11.&lt;br /&gt;
&lt;br /&gt;
[6]Lu Wenchan. Studies on Chinese-English Brand Name Translation from the Perspective of Cross-cultural Communication[A]. Research Institute of Management Science and Industrial Engineering.Proceedings of 2018 2nd International Conference on Social Sciences, Arts and Humanities (SSAH 2018)[C].Research Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:6.&lt;br /&gt;
&lt;br /&gt;
[7]Wang Hengen. &amp;quot;Three Beauty&amp;quot; theory and Trademark Translation Analysis [J]. Success (Education),2009(03):274-275.&lt;br /&gt;
&lt;br /&gt;
[8]Xuechuan He. The Study of Chinese-English Trademark Translation[J]. Theory and Practice in Language Studies,2018,8(5).&lt;br /&gt;
&lt;br /&gt;
[9]Zhang Shu. Study on E-C translation of Brand names from the perspective of Skopos Theory[A]. Institute of Management Science and Industrial Engineering.Proceedings of 2018 5th International Conference on Education,Management and Computing Technology(ICEMCT 2018)[C].Institute of Management Science and Industrial Engineering: Computer Science and Electronic  Technology International Society,2018:5.&lt;br /&gt;
&lt;br /&gt;
[10]Zhang Jin. Principles and Methods of Translating Chinese and English Trademark Names [J]. Campus English,2019(10):225-226.&lt;br /&gt;
&lt;br /&gt;
[11]Zhang Wenfei. Further Discussion on Trademark Translation Strategies under Sanmei theory [J]. Campus English,2020(30):249-250.&lt;br /&gt;
&lt;br /&gt;
[12]Li Jianzi (2018.7.11). Chinese translated names are popular! &amp;quot;Make up for Ever&amp;quot; arouses hot discussion. https://www.cbo.cn/article/id/45823.html&lt;br /&gt;
&lt;br /&gt;
[13]Ogilvy Ao Mei (2017.5.2). Why should a good copywriter earn $100,000 a month? Look at these awesome translations. https://m.digitaling.com/articles/36896.html&lt;br /&gt;
&lt;br /&gt;
[14]Victor Mair (2019.10.19). &amp;quot;Revlon&amp;quot; in Chinese. https://languagelog.ldc.upenn.edu/nll/?p=44732&lt;br /&gt;
&lt;br /&gt;
='''Translation of Cultural Words'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory 周思庆 Zhou Siqing==&lt;br /&gt;
&amp;lt;center&amp;gt;周思庆 Zhou Siqing, 202020080673 &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.&lt;br /&gt;
&lt;br /&gt;
===Key word===&lt;br /&gt;
culture-loaded word, Li Qingzhao, Scopos Theory&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
从目的论看李清照词中的文化负载词英译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
文化负载词， 李清照， 目的论&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao's, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of 【Li Qingzhao】, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:58, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===&lt;br /&gt;
====1.1 Brief introduction of Li Qingzhao====&lt;br /&gt;
Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable circumstance in her childhood and received a good education, which paved the path for her literary career. Unlike most ignorant women in that age, she had great talent in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for herself.(Fu Guiying, 2013：3)&lt;br /&gt;
&lt;br /&gt;
Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable childhood and received a good education, which paved the way for her literary career. Unlike most ignorant women in that age, she had great talents in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for her.(Fu Guiying, 2013：3)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:11, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly in endless sorrow. The miserable and painful life experience didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)&lt;br /&gt;
&lt;br /&gt;
She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly with endless sorrow. The miserable and painful life experiences didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:11, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====&lt;br /&gt;
&lt;br /&gt;
As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing the emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. (Fu Guiying, 2013：4)&lt;br /&gt;
&lt;br /&gt;
As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. (Fu Guiying, 2013：4)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Generally, Li Qingzhao's proposition of Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works most depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅) and so on. As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)&lt;br /&gt;
&lt;br /&gt;
Generally, Li Qingzhao's Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works mostly depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅). As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving the readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)&lt;br /&gt;
&lt;br /&gt;
To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Introduction of Scopos theory===&lt;br /&gt;
====2.1 Historical development of Scopos theory====&lt;br /&gt;
&lt;br /&gt;
Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.(Zhang Chenxiang, 2007:32)&lt;br /&gt;
&lt;br /&gt;
In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually get rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)&lt;br /&gt;
&lt;br /&gt;
In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually gets rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence , a new situation or event or a new thing (Zhang Chenxiang, 2007:34). This is the origin of Scopos theory. Reiss mentioned that, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoat0r can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)&lt;br /&gt;
&lt;br /&gt;
In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence, a new situation or event or a new thing.(Zhang Chenxiang, 2007:34) This is the origin of Scopos theory. Reiss mentioned, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoator can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoid using the term “translation” and focus on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation is defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).&lt;br /&gt;
&lt;br /&gt;
In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoided using the term “translation” and focused on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation was defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====2.2 Basic rules of Scopos theory====&lt;br /&gt;
&lt;br /&gt;
In the Scopos theory, there are three basic rules, namely skopos theory, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)&lt;br /&gt;
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In the Scopos theory, there are three basic rules, namely skopos rule, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
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The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought analyze these factors carefully. (Li Zhao, 2011:24)&lt;br /&gt;
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The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought to analyze these factors carefully. (Li Zhao, 2011:24)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
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Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balance the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)&lt;br /&gt;
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Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balances the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:56, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 3 Introduction of culture-loaded words===&lt;br /&gt;
====3.1 Definition of culture-loaded words====&lt;br /&gt;
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Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars has made different definitions to cultural loaded words. J. F Aixel gives these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). &lt;br /&gt;
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Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars have made different definitions to cultural loaded words. J. F Aixel gave these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). --[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:04, 19 December 2020 (UTC)&lt;br /&gt;
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Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.” This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories. (Baker, 2004:21)&lt;br /&gt;
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====3.2 Classification of culture-loaded words====&lt;br /&gt;
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=====3.2.1 Ecological culture-loaded words=====&lt;br /&gt;
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Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite. (Liao Huihua, 2010:9)&lt;br /&gt;
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For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. (Liao Huihua, 2010:9)&lt;br /&gt;
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Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, the Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)&lt;br /&gt;
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Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:17, 19 December 2020 (UTC)&lt;br /&gt;
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=====3.2.2 Material culture-loaded words=====&lt;br /&gt;
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Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc. (Liao Huihua, 2010:10)&lt;br /&gt;
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=====3.2.3 Social culture-loaded words=====&lt;br /&gt;
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The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.(Han Zhouwen, 2014:18)&lt;br /&gt;
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=====3.2.4 Religious culture-loaded words=====&lt;br /&gt;
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Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrate in the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflects the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)&lt;br /&gt;
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Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrates the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflect the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:17, 19 December 2020 (UTC)&lt;br /&gt;
=====3.2.5 Linguistic culture-loaded words=====&lt;br /&gt;
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Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.(Han Zhouwen, 2014:24)&lt;br /&gt;
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===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===&lt;br /&gt;
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Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)&lt;br /&gt;
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Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which are also known as cultural gaps. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:56, 19 December 2020 (UTC)&lt;br /&gt;
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====4.1 Translation of ecological culture-loaded words====&lt;br /&gt;
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(1)梨花欲谢恐难禁。(《浣溪沙》）&lt;br /&gt;
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I am afraid pear blossoms cannot bear at all&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:25)&lt;br /&gt;
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O bright pods/ Of the pepper plant, you do not/ Need to bow and beg pardon./ I know you cannot hold back/ The passing day.&lt;br /&gt;
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—translated by Kenneth Rexroth (Kenneth Rexroth,1979:66)&lt;br /&gt;
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Some plants and flowers have certain connotation in Chinese, which leaves the gap of further imagination. Snow is often compared to pear-blossom, which is a common metaphor in Chinese poetry, for example: “忽如一夜春风来，千树万树梨花开” is used to describe the beautiful snow-covered landscape. Here, Xu Yuanchong translated “梨花”into “pear blossoms”directly is to reproduce this often-used metaphor. Both the basic meaning and the cultural content have been well transmitted. Xu Yuanchong adopted literal translation to realize foreignization. In contrast, Kenneth Rexroth adopted demestication and free translation and translate “梨花” as “the pepper plant” to achieve the skopos of translation. Here, “the pepper plant” is used to serve as a substitution because it is a New Year decoration which shows the passion of spring. This passionate image can contrast the depressed mood of Li Qingzhao for the fleeting time.(Liao Huihua, 2010:40)&lt;br /&gt;
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(2)试问卷帘人，却道海棠依旧？（《如梦令》）&lt;br /&gt;
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I ask the maid rolling up the screen./ “The same crab-apple tree,”she says, “is seen”&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:34)&lt;br /&gt;
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I asked my maid as she rolled up the curtains,/ “Are the begonias still the same?”&lt;br /&gt;
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—translated by Kenneth Rexroth (Kenneth Rexroth,1979:44)&lt;br /&gt;
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In Chinese culture, “海棠” usually symbolizes bitter love. When people encounters twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintain the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias”  by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, , sothe former uses foreignization but the latter uses demestication.(Liao Huihua, 2010:41)&lt;br /&gt;
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In Chinese culture, “海棠” usually symbolizes bitter love. When people encounter twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintains the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias”  by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, the former uses foreignization while the latter uses demestication.(Liao Huihua, 2010:41)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:56, 19 December 2020 (UTC)&lt;br /&gt;
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====4.2 Translation of material culture-loaded words====&lt;br /&gt;
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(3)常记溪亭日暮 (《如梦令》)&lt;br /&gt;
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I oft remember what a happy day/ We passed in creekside arbour when it glooming.&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:38)&lt;br /&gt;
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I remember in Hsi T’ing/ All the many times/ We got lost in the sunset.&lt;br /&gt;
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—translated by Kenneth Rexroth (Kenneth Rexroth,1979:21)&lt;br /&gt;
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The meaning of “溪亭” can be interpreted as the name of a place in Ji’nan, Shandong Province or a pavilion by the river side. Therefore, different versions of this word appears according to the different understanding of this word. Xu Yuanchong translated it as “creekside arbour” by employing literal translation whereas Kenneth Rexroth translated it into “Hsi T’ing” according to its sound by using transliteration. The version “creekside arbour” is more acceptable by Chinese readers because it shows the basic meaning of this word. But the version “Hsi T’ing” is more understandable for foreigners because it’s just a name of a place.(Liao Huihua, 2010:48)&lt;br /&gt;
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(4)轻解罗裳，独上兰舟。(《一剪梅》)&lt;br /&gt;
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My silk robe doffed, I float/ Alone in orchid boat&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:49)&lt;br /&gt;
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I open/ My silk dress and float alone/ On the orchid boat.&lt;br /&gt;
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—translated by Kenneth Rexroth &amp;amp; Chung Ling (Kenneth Rexroth,&amp;amp; Chung Ling,1979:56)&lt;br /&gt;
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Generally speaking, “兰舟” refers to a small boat which is made of the trunk of a magnolia tree. &lt;br /&gt;
However, both Xu Yuanchong and Kenneth Rexroth translated “兰舟” into “orchid boat” in order to reproduce the poetic language of the original text. If they translate it according to the literal meaning, the beautiful poetic language cannot be reproduced in the target language. So, they associated the boat with orchid, a kind of beautiful flower to achieve “literariness”, making poetry as poetic as possible.(Zheng Yanhong. 2001:129)&lt;br /&gt;
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====4.3 Translation of social culture-loaded words====&lt;br /&gt;
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(5)海燕未来人斗草。(《浣溪沙》)&lt;br /&gt;
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The swallows not yet come, a game of grass we play.&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:55)&lt;br /&gt;
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People are gathering wild flowers and herbs in the meadow.&lt;br /&gt;
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—translated by Kenneth Rexroth (Kenneth Rexroth,1979:93)&lt;br /&gt;
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Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one need to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)&lt;br /&gt;
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Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one needs to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:56, 19 December 2020 (UTC)&lt;br /&gt;
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(6)佳节又重阳(《醉花阴》)&lt;br /&gt;
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The Double Ninth comes now again.&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:54)&lt;br /&gt;
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Again it is the Ninth of the Ninth Month.&lt;br /&gt;
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—translated by Kenneth Rexroth (Kenneth Rexroth,1979:47)&lt;br /&gt;
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“重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival is coming around, the poetess feel sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event is translated, but the connotation of this festival is lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thinks it is not necessary to add the burden of understanding the text.  In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)&lt;br /&gt;
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“重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival was coming around, the poetess felt sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event was translated, but the connotation of this festival was lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thought it was not necessary to add the burden of understanding the text.  In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:56, 19 December 2020 (UTC)&lt;br /&gt;
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====4.4 Translation of religious culture-loaded words====&lt;br /&gt;
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(7)仿佛梦魂归帝所 (《渔家傲》)&lt;br /&gt;
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In leaf-like boat my soul to God’s abode would fly.&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:62)&lt;br /&gt;
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I am rapt away to the place of the Supreme/ And hear the words of Heaven.&lt;br /&gt;
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—translated by Kenneth Rexroth (Kenneth Rexroth,1979:33)&lt;br /&gt;
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As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is be the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)&lt;br /&gt;
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As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:56, 19 December 2020 (UTC)&lt;br /&gt;
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(8)造化可能偏有意，故叫明月玲珑地。(《渔家傲》)&lt;br /&gt;
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You find a special favor in Creator’s eye,&lt;br /&gt;
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The moon caresses you with pure beams from on high.&lt;br /&gt;
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—translated by Xu Yuanchong (Xu Yuanchong,2003:76)&lt;br /&gt;
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Making the bright moon shine splendid on your curving flesh.&lt;br /&gt;
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—translated by Kenneth Rexroth (Kenneth Rexroth,1979:45)&lt;br /&gt;
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In Xu Yuanchong’s version, “造化” is translated directly into “Creator” but in Kenneth Rexroth’s version, this image is deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong  aims to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target reader.(Liao Huihua, 2010:45)&lt;br /&gt;
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In Xu Yuanchong’s version, “造化” was translated directly into “Creator” but in Kenneth Rexroth’s version, this image was deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong  aimed to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable to western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target readers.(Liao Huihua, 2010:45)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:56, 19 December 2020 (UTC)&lt;br /&gt;
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====4.5 Translation of linguistic culture-loaded words====&lt;br /&gt;
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(9) 寻寻觅觅，冷冷清清， 凄凄惨惨戚戚。(《声声慢》)&lt;br /&gt;
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I look for what I miss;&lt;br /&gt;
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I know not what it is.&lt;br /&gt;
&lt;br /&gt;
I feel so sad, so drear,&lt;br /&gt;
&lt;br /&gt;
So lonely, without cheer.&lt;br /&gt;
&lt;br /&gt;
—translated by Xu Yuanchong (Xu Yuanchong,2003:81)&lt;br /&gt;
&lt;br /&gt;
Search. Search. Seek. Seek.&lt;br /&gt;
&lt;br /&gt;
Cold. Cold. Clear. Clear.&lt;br /&gt;
&lt;br /&gt;
Sorrow. Sorrow. Pain. Pain.&lt;br /&gt;
&lt;br /&gt;
—translated by Kenneth Rexroth &amp;amp; Chung Ling (Kenneth Rexroth,1979:78)&lt;br /&gt;
&lt;br /&gt;
Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. we can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚” sound quite similar or even the same, really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth use the literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) &lt;br /&gt;
&lt;br /&gt;
Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. We can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚”. They sound quite similar or even the same, which really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth used literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) --[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 07:56, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
(10) 小风疏雨萧萧地 (《孤雁儿》)&lt;br /&gt;
&lt;br /&gt;
A grizzling wind and drizzling rain&lt;br /&gt;
&lt;br /&gt;
—translated by Xu Yuanchong (Xu Yuanchong,2003:90)&lt;br /&gt;
&lt;br /&gt;
Small wind, fine rain, hsiao, Hsiao&lt;br /&gt;
&lt;br /&gt;
—translated by Kenneth Rexroth (Kenneth Rexroth,1979:56)&lt;br /&gt;
&lt;br /&gt;
In the ST, “萧萧” is a reduplicative word in order to foil the depressed and sad atmosphere. It is difficult to reproduce this unique structure in the TT. We can see in Xu Yuanchong’s version, he omitted the original form and tried to reproduce the beautiful sound and sense. The rhymes of “grizzling” and “drizzling” are the same. This internal rhyme can make compensation for the loss of reduplication. And the strong sad mood is fully conveyed. Here, foreignization is employed. Kenneth Rexroth focused on the reproduction of the form, so he adopted transliteration to maintain the form of reduplicative word. Although the sound and form are beautiful, in this way, the sad cultural conception may lose at the same time.(Li Qing, 2005:75)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. Although this paper can shed some light on the study of culture-loaded word, ti still has some limitations. If more samples of culture-loaded word are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)&lt;br /&gt;
&lt;br /&gt;
In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. Although this paper can shed some light on the study of culture-loaded word, it still has some limitations. If more samples of culture-loaded words are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 08:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Nida, Eugene A. (1993). ''Language, Culture and Translating''[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Nord, Christiane. (2001). ''Translating as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Reiss, Katharina. (1971). ''Translation Criticism: The Potentials and Limitations: Categories and Criteria for Translation Quality Assessment''[M]. Manchester: St. Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
*Reiss, Katharina and Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation''[M]. Tubingen: Niemeyer.&lt;br /&gt;
&lt;br /&gt;
*Rexroth, K. &amp;amp; Chung L. (1979). ''Ching-chao: Complete Poems''[M]. New York: New Directions.&lt;br /&gt;
&lt;br /&gt;
*Vermeer, Hans J. A. (1996). ''Scopos Theory of Translation''[M]. Heidelberg: TEXT con TEXT-Ver-lag.&lt;br /&gt;
&lt;br /&gt;
*Fu Guiying 付桂英. (2013). “三美”理论指导下李清照词英译的美感再现[Translation of Li Qingzhao's Ci Poems from the Perspective of Three-Beauty Principle][D].上海:上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
* Han Zhouwen 韩周文. (2014). 《生死疲劳》中文化负载词的英译研究[A Study on the Translation of the Culture-loaded Terms of Life and Death Are Wearing Me Out:A perspective of Skopos Theory]——以目的论为视角[D].福州:福建师范大学.&lt;br /&gt;
&lt;br /&gt;
*Li Qing 郦青. (2005). 李清照词英译对比研究[Contrast Study on LI Qingzhao's Ci-Poetry]. [D].上海:华东师范大学.&lt;br /&gt;
&lt;br /&gt;
*Li Zhao 李照. (2001). 目的论视角下的文化负载词翻译——试评林语堂的《吾国与吾民》[Translation of Culture-loaded Words Based on Scopos Theory -Comments on Lin Yutang's &amp;quot;Our Country and Our People&amp;quot;]. [D].北京:首都师范大学.&lt;br /&gt;
&lt;br /&gt;
* Liao Huihua 廖慧华. (2010). 从目的论角度对比分析《李清照词》中文化负载词的翻译[A Comparative Study on the Translatioon of Culture-loaded Words in Li Qingzhao's Ci-Poetry from the Perspective of the Skopos Theory][D].衡阳:南华大学.&lt;br /&gt;
&lt;br /&gt;
*Wang Zhongwen 王仲闻. (2019). 李清照集校注 [Annotation on the Collection of Li Qingzhao's Ci-Poetry]. [M].北京:人民文学出版社.&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (2006). 翻译与艺术[Translation and Art]. [M].北京:五洲传播出版社.&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (2003). 宋词三百首[Three Hundred Ci Poems of the Song Dynasty]. [M].北京:中国对外翻译出版社.&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (2003). 文学与翻译[Literature and Translation]. [M].北京:北京大学出版社.&lt;br /&gt;
&lt;br /&gt;
*Yang Jian 杨健. (2000). 李清照词英译研究[English Translation Studies on Li Qingzhao's Ci-Poetry]. [D].南宁:广西大学.&lt;br /&gt;
&lt;br /&gt;
*Zhang Chenxiang 张沉香. (2007). 功能目的理论与应用翻译研究[Scopos Theory and Applied Translation Studies]. [M].长沙:湖南师范大学出版社.&lt;br /&gt;
&lt;br /&gt;
*Zheng Yanhong 郑燕虹. (2001). 风筝之线——评王公红、钟玲翻译的李清照诗词[The String of the Kite -Comments on Kenneth Rexroth and Chung Ling's Translation of Li Qingzhao's Ci-Poetry]. [J].外语学刊,160(3):125-129.&lt;br /&gt;
&lt;br /&gt;
==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei 202070080592 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.&lt;br /&gt;
&lt;br /&gt;
Among the current English versions of this book, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.&lt;br /&gt;
&lt;br /&gt;
Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.&lt;br /&gt;
&lt;br /&gt;
By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.&lt;br /&gt;
&lt;br /&gt;
This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.&lt;br /&gt;
&lt;br /&gt;
Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &amp;quot;going out&amp;quot; of Chinese culture, and provide reference for the translation of culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
domestication; foreignization; ''Six Chapters of a Floating Life''; Lin Yutang; culture-loaded words&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。&lt;br /&gt;
&lt;br /&gt;
沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。&lt;br /&gt;
&lt;br /&gt;
通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。&lt;br /&gt;
&lt;br /&gt;
因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
归化，异化，《浮生六记》，林语堂，文化负载词&lt;br /&gt;
&lt;br /&gt;
===Chapter One Introduction===&lt;br /&gt;
&lt;br /&gt;
With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used in this globe, are both crucial languages, which work as vital bridges in cultural world. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used around the globe, are both crucial languages, which work as vital bridges in cultural world. (Shen Fu 2019)--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 11:16, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there exists plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is so hard to render them that foreign readers couldn't understand, which is a real and tough task for translators. (Shen Fu 2019)--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 11:16, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Six Chapters of a Floating Life is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
''Six Chapters of a Floating Life'' is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
Among the current English versions of it, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
Among the current English versions of it, Lin Yutang's Six Chapters of a Floating Life is written first and the closest to the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar. (Shen Fu 2019)--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 11:16, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &amp;quot;going out&amp;quot; of Chinese culture, and provide reference for the translation of culture-loaded words. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in ''Six Chapters of a Floating Life''. By doing this, this paper aims to prove the instructiveness of domesticating and foreignizing translations, find out the reasons for the success of Mr. Lin’s translation, point out the positive role of this translation in the &amp;quot;going out&amp;quot; of Chinese culture, and provide reference for the translation of culture-loaded words. (Shen Fu 2019)--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 11:16, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter Two Literature Review===&lt;br /&gt;
&lt;br /&gt;
====2.1 A Study on ''Six Chapters of a Floating Life''====&lt;br /&gt;
For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: Six Chapters of a Floating Life. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
=====2.1.1 A Brief Review of Its Original Version=====&lt;br /&gt;
Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year of Jiaqing (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &amp;quot;floating life&amp;quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?” (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year of Qianlong (AD 1763).  He was a man of letters, who was once an assistant to ranking officials and a merchant. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
The remaining four chapters of ''Six Chapters of a Floating Life'' was accidentally found on the stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with movable type in 1877. Subsequently, this book gradually established itself on the literary field. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
=====2.1.2 A Brief Review of Its English Version Translated by Lin Yutang=====&lt;br /&gt;
In the spring and summer time of 1935, Lin Yutang successively translated Six Chapters of a Floating Life into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and unswerving love for carefreeness. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
In February of 1999, Foreign Language Teaching and Research Press reprinted Six Chapters of a Floating Life with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence. (Shen Fu 2019)&lt;br /&gt;
&lt;br /&gt;
====2.2 An Introduction of Culture-loaded Words====&lt;br /&gt;
Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in Six Chapters of a Floating Life, which enable us to distinguish, select and analyse culture-loaded words in future steps. (Eugene, A. Nida. 2001)&lt;br /&gt;
&lt;br /&gt;
=====2.2.1 Definition of Culture-loaded Words=====&lt;br /&gt;
There are many definitions for culture-loaded words, and I have presented three different versions below. First, Mona Baker claims that &amp;quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &amp;quot;. (Mona Baker 2000,21)&lt;br /&gt;
&lt;br /&gt;
This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carry in the source language finds no equivalent in the target language. (Bao Huinan 2001,10)&lt;br /&gt;
&lt;br /&gt;
In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &amp;quot;culture-specific items&amp;quot; and states in his book Culture-specific Item in Translation that &amp;quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&amp;quot;. (Zhang Nanfeng 2004,19)&lt;br /&gt;
&lt;br /&gt;
From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.&lt;br /&gt;
To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc. (Eugene, A. Nida. 2001)&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Categorization of Culture-loaded Words===== &lt;br /&gt;
Eugene Nida considers that &amp;quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&amp;quot;. (Hu Zhuanglin, Jiang Wangqi，2002)&lt;br /&gt;
&lt;br /&gt;
In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words. This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization. (Eugene, A. Nida. 2001)&lt;br /&gt;
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=====2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life=====&lt;br /&gt;
Among those studies of the English versions of Shen Fu’s Six Chapters of a Floating Life, the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in ''Six Chapters of a Floating Life'' translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. (Li Yi 2013,43-44)&lt;br /&gt;
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===Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life''===&lt;br /&gt;
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====3.1 Translation Strategy of Domestication====&lt;br /&gt;
Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers. (Xiong Bing 2014,82-88)&lt;br /&gt;
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As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)&lt;br /&gt;
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=====3.1.1 Free Translation===== &lt;br /&gt;
Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)&lt;br /&gt;
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=====3.1.1.1 Paraphrase===== &lt;br /&gt;
When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text. (Xiong Bing 2014,82-88)&lt;br /&gt;
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1a. 合卺后，并肩夜膳，……（沈复，2018：7）&lt;br /&gt;
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1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)&lt;br /&gt;
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The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.&lt;br /&gt;
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3.1.1.2 Idiomatic Translation&lt;br /&gt;
Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text. (Xiong Bing 2014,82-88)&lt;br /&gt;
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2a. 井井然未尝稍失。（沈复，2018：9）&lt;br /&gt;
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2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)&lt;br /&gt;
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“未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.&lt;br /&gt;
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====3.2 Translation Strategy of Foreignization====&lt;br /&gt;
Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. (Xiong Bing 2014,82-88)&lt;br /&gt;
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And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below. (Xiong Bing 2014,82-88)&lt;br /&gt;
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=====3.2.1 Transliteration===== &lt;br /&gt;
Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language. (Xiong Bing 2014,82-88)&lt;br /&gt;
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3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）&lt;br /&gt;
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3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)&lt;br /&gt;
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The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.&lt;br /&gt;
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=====3.2.2 Word-for-word Translation=====&lt;br /&gt;
Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method. (Xiong Bing 2014,82-88)&lt;br /&gt;
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4a. 一场，主考得香钱百文。（沈复，2018：57）&lt;br /&gt;
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4b. The official examiner would get one hundred cash “incense  money”. (Lin Yutang, 2019: 253)&lt;br /&gt;
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“Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.&lt;br /&gt;
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=====3.2.3 Literal Translation=====&lt;br /&gt;
Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language. (Xiong Bing 2014,82-88)&lt;br /&gt;
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5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）&lt;br /&gt;
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5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)&lt;br /&gt;
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“挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.&lt;br /&gt;
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====3.3 A Brief Conclusion on the Translation Strategies==== &lt;br /&gt;
In this Chapter, we have mainly discussed five translation methods based on Six Chapters of a Floating Life. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization. (Xiong Bing 2014,82-88)&lt;br /&gt;
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The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of Six Chapters of a Floating Life. (Xiong Bing 2014,82-88)&lt;br /&gt;
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===Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life''===&lt;br /&gt;
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====4.1 Domestication Applied in Culture-loaded Words====&lt;br /&gt;
In this part, we will center upon some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of domestication. (Xiong Bing 2014,82-88)&lt;br /&gt;
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=====4.1.1 Free Translation of Culture-loaded Words=====&lt;br /&gt;
As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. (Xiong Bing 2014,82-88)&lt;br /&gt;
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======4.1.1.1 Paraphrase of Culture-loaded Words======&lt;br /&gt;
The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)&lt;br /&gt;
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6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）&lt;br /&gt;
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6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)&lt;br /&gt;
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The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.&lt;br /&gt;
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7a. 粉颈 （沈复，2018：8）&lt;br /&gt;
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7b. Beautiful white neck (Lin Yutang, 2019: 38)&lt;br /&gt;
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In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.&lt;br /&gt;
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======4.1.1.2 Idiomatic Translation of Culture-loaded Words======&lt;br /&gt;
The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)&lt;br /&gt;
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8a. 大醉而卧（沈复，2018：7）&lt;br /&gt;
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8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)&lt;br /&gt;
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This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.&lt;br /&gt;
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====4.2 Foreignization Applied in Culture-loaded Words====&lt;br /&gt;
In this part, we will center on some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of foreignization. (Xiong Bing 2014,82-88)&lt;br /&gt;
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=====4.2.1 Transliteration of Culture-loaded Words=====&lt;br /&gt;
The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)&lt;br /&gt;
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9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）&lt;br /&gt;
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9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)&lt;br /&gt;
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“San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.&lt;br /&gt;
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10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）&lt;br /&gt;
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10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)&lt;br /&gt;
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“篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.&lt;br /&gt;
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=====4.2.2 Word-for-word Translation of Culture-loaded Words=====&lt;br /&gt;
The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)&lt;br /&gt;
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11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018：13）&lt;br /&gt;
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11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)&lt;br /&gt;
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The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.&lt;br /&gt;
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=====4.2.3 Literal Translation of Culture-loaded Words=====&lt;br /&gt;
The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)&lt;br /&gt;
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12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。（沈复，2018：12）&lt;br /&gt;
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12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)&lt;br /&gt;
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In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.&lt;br /&gt;
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13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）&lt;br /&gt;
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13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)&lt;br /&gt;
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“月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.&lt;br /&gt;
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===Chapter Five Conclusion===&lt;br /&gt;
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Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well. As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent. (Eugene, A. Nida. 2001)&lt;br /&gt;
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In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries. (Xiong Bing 2014,82-88)&lt;br /&gt;
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In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words. (Li Yi 2013, 43-44)&lt;br /&gt;
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Zhu Yitian 朱怡天. (2013). 《浮生六记》林语堂英译本中文化负载词的翻译[MA] [Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'' by Lin Yutang]. ''上海外国语大学硕士学位论文'' Master's Thesis of Shanghai International Studies University.&lt;br /&gt;
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==How to Keep &amp;quot;Chineseness&amp;quot; in Idiom Translation from Chinese to English	瞿淼 202070080604 Qu Miao   【专业 is missing】==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Idiom is a form of expression natural to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the translation of idoms from Chinese to English, &amp;quot;Chineseness&amp;quot; in idioms is often lost in the translation, since Chinese and English belong to different language systems so there exist great cultural differences between them. (Wang Tao, 2018, 32)&lt;br /&gt;
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Idiom is a form of expression naturally to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the process od translating idoms from Chinese to English, &amp;quot;Chineseness&amp;quot; in idioms is often lost, since Chinese and English belong to different language systems,there exist great cultural differences between them. (Wang Tao, 2018, 32)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:39, 18 December 2020 (UTC)&lt;br /&gt;
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This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &amp;quot;Chineseness&amp;quot; in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English, it is advisable to translators should, according to the needs of a specific context, find a balance between foreignization and domestication, so that &amp;quot;Chineseness&amp;quot; in the original text is kept in translated text as much as possible. &lt;br /&gt;
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This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &amp;quot;Chineseness&amp;quot; in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English,translators should, according to the needs of a specific context, find a balance between foreignization and domestication, so that &amp;quot;Chineseness&amp;quot; in the original text can be kept in translated text as much as possible. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:39, 18 December 2020 (UTC)&lt;br /&gt;
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===Key Words===&lt;br /&gt;
idiom translation; cultural deficiency; cultural differences; foregnizing; domestication&lt;br /&gt;
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idiom translation; cultural deficiency; cultural differences; foreignization; domestication--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:39, 18 December 2020 (UTC)&lt;br /&gt;
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===汉语习语英译如何保持&amp;quot;中国性&amp;quot;===&lt;br /&gt;
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===摘要===&lt;br /&gt;
俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。（王涛，2018，32）&lt;br /&gt;
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本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在中文习语的翻译过程中，译者应该根据特定语境的需要，在异化和归化之间找到一个平衡点，以此来最大限度地保持俗语的中国特色。&lt;br /&gt;
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===关键词===&lt;br /&gt;
习语翻译；文化缺失；文化差异；异化；归化&lt;br /&gt;
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=== Introduction===&lt;br /&gt;
An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words．Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargon and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they are produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are very national and cultural. (Wang Tao, 2018, 32)&lt;br /&gt;
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An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words．Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargons and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they were produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are national and cultural. (Wang Tao, 2018, 32)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:39, 18 December 2020 (UTC)&lt;br /&gt;
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As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and can enhance communication between different cultures. As the essence of national culture, the translation of idioms plays an increasing important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning, but also realize the transfer of cultural connotations implied by idioms. (Jiang Lei, 2003, 54)&lt;br /&gt;
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As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and thus enhance the communication between different cultures. As the essence of national culture, the translation of idioms plays an increasingly important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning precisly, but also realize the transfer of cultural connotations implied in idioms. (Jiang Lei, 2003, 54)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 07:00, 18 December 2020 (UTC)&lt;br /&gt;
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Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have the characteristics of concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for achieving the most perfect state of communication between China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people of different cultural backgrounds to establish coherent and unobstructed semantics when communicating. (Liu Ning, 2016, 81)&lt;br /&gt;
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Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have some characteristics such as, concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for the communication between the China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people in different cultural backgrounds to establish coherent and unobstructed semantics when communicating. (Liu Ning, 2016, 81)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 07:00, 18 December 2020 (UTC)&lt;br /&gt;
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The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping &amp;quot;Chineseness&amp;quot; in idiom translation. In the second chapter, this article discusses the reasons for cultural deficiency in Chinese idiom translation form four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignization and domestication translation in idiom translation. This chapter begins with a brief introduction of foreignization and domestication translation method, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignization and domestication.&lt;br /&gt;
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The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping &amp;quot;Chineseness&amp;quot; in idiom translation. In the second chapter, this article mainly discusses the reasons for cultural deficiency in Chinese idiom translation from four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignization and domestication translation in idiom translation. This chapter begins with a brief introduction of foreignization and domestication translation methods, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignization and domestication.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 07:00, 18 December 2020 (UTC)&lt;br /&gt;
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===Chapter One An Overview of the Idiom Translation form Chinese to English===&lt;br /&gt;
Chinese idioms are mainly created by the folk and widely circulate. From the expression content of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture. (Jia Yunpeng, 2015, 65)&lt;br /&gt;
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Chinese idioms are mainly created by the folk and widely circulated. From the expression of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture. (Jia Yunpeng, 2015, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 07:00, 18 December 2020 (UTC)&lt;br /&gt;
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====1.1 The Problems of Idiom Translation form Chinese to English ====&lt;br /&gt;
Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting common and commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &amp;quot;loss of Chineseness&amp;quot;, in the translation of Chinese colloquial language. (Liu Ning, 2016, 81)&lt;br /&gt;
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Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &amp;quot;loss of Chineseness&amp;quot;, in the translation of Chinese colloquial language. (Liu Ning, 2016, 81)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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The manifestation of cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the interpretation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation. (Guo Jianzhong, 2000, 65)&lt;br /&gt;
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The cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the translation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation. (Guo Jianzhong, 2000, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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The emergence of this phenomenon is a manifestation of cultural deficiency, and the contradiction of cultural mechanism orientation between readers and translators leads to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss. (Liu Ning, 2016, 82)&lt;br /&gt;
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The emergence of this phenomenon is the manifestation of cultural deficiency and the contradiction of cultural mechanism orientation between readers and translators, which lead to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss. (Liu Ning, 2016, 82)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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====1.2 The Importance of Keeping &amp;quot;Chineseness&amp;quot; in Chinese Idiom Translation to English====&lt;br /&gt;
Idioms are the condensed and quintessence of human language. As the treasures of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If it is separated from the culture of a nation, translation would miss its due role. (Wang Tao, 2018, 33)&lt;br /&gt;
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Idioms are the quintessence of human language. As the treasure of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If separated from the culture of a nation, translation would miss its due role. (Wang Tao, 2018, 33)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is a representative of the school of &amp;quot;cultural translation&amp;quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese Idiom Translation to English as much as possible to spread Chinese culture. (Jiang Lei, 2003, 53)&lt;br /&gt;
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Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is the representative of the school of &amp;quot;cultural translation&amp;quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese idiom translation to English as much as possible to spread Chinese culture. (Jiang Lei, 2003, 53)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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=== Chapter Two The Reasons for the Loss of &amp;quot;Chineseness&amp;quot; in Idiom Translation from Chinese to English===&lt;br /&gt;
Chinese and English have completely different cultural backgrounds. The cultural differences between the two are huge, which makes the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to another. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the Loss of &amp;quot;Chineseness&amp;quot; in Idiom Translation from Chinese to English are mainly reflected in the following four aspects. (Qiu Nengsheng, 2019, 51)&lt;br /&gt;
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Chinese and English have completely different cultural backgrounds so that they have large cultural differences, which make the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to the other one. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the loss of &amp;quot;Chineseness&amp;quot; in idiom translation from Chinese to English are mainly reflected in the following four aspects. (Qiu Nengsheng, 2019, 51)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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====2.1 Different Emotional Orientation====&lt;br /&gt;
Although there are many words that refer to the same thing in Chinese and English, the word may mean differently in different language contexts, for the same word may bear different associative meanings. (Jia Yunpeng, 2015, 65)&lt;br /&gt;
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For example, Chinese people and Westerns often have different understanding to color words. The semantic associations of the word &amp;quot;yellow&amp;quot; are different in English and Chinese cultures. In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role.For example, &amp;quot;黄袍加身&amp;quot;（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &amp;quot;黄&amp;quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &amp;quot;黄色影片&amp;quot;, &amp;quot;黄色书籍&amp;quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes worn by Judas, who betrayed Jesus. Therefore, yellow can be used to express &amp;quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&amp;quot; and other derodic meanings. But in English the word &amp;quot;yellow&amp;quot; doesn't have an obscene meaning. (Jia Yunpeng, 2015, 66)&lt;br /&gt;
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For example, Chinese people and Westerns often have different understanding words about colors. The semantic associations of the word &amp;quot;yellow&amp;quot; are different in English and Chinese cultures. In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role in Chinese culture. For example, &amp;quot;黄袍加身&amp;quot;（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &amp;quot;黄&amp;quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &amp;quot;黄色影片&amp;quot;, &amp;quot;黄色书籍&amp;quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes Judas dressed, who betrayed Jesus. Therefore, yellow can be used to express &amp;quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&amp;quot; and other derodic meanings. But in English the word &amp;quot;yellow&amp;quot; doesn't have an obscene meaning. (Jia Yunpeng, 2015, 66)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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Chinese people has regarded the &amp;quot;dragon&amp;quot; as the symbol of the nation since ancient times, and the Chinese nation called themselves the &amp;quot;descendant of the dragon&amp;quot;. However, in western culture, &amp;quot;dragon&amp;quot; is a lizard with scales, wings and tails, an can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom &amp;quot;望子成龙&amp;quot; was translated into &amp;quot;hope one’s children to become a dragon&amp;quot;, it would lead to great misunderstanding. But we translate it into &amp;quot;hope one’s children will have a bright future&amp;quot;, foreigners may not get the metaphoric meaning of the word &amp;quot;龙&amp;quot;. This is what we said the loss of &amp;quot;Chineseness&amp;quot;, namely, cultural deficiency. (Qiu Nengsheng, 2019, 52)&lt;br /&gt;
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Chinese people has regarded the &amp;quot;dragon&amp;quot; as the symbol of the nation since ancient times, and they call themselves as the &amp;quot;descendant of the dragon&amp;quot;. However, in western culture, &amp;quot;dragon&amp;quot; is a lizard with scales, wings and tails, which can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom &amp;quot;望子成龙&amp;quot; was translated into &amp;quot;hope one’s children to become a dragon&amp;quot;, it would lead to great misunderstanding. But we translate it into &amp;quot;hope one’s children will have a bright future&amp;quot;, foreigners may not get the metaphoric meaning of the word &amp;quot;龙&amp;quot;. This is what we said the loss of &amp;quot;Chineseness&amp;quot;, namely, cultural deficiency. (Qiu Nengsheng, 2019, 52)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 18 December 2020 (UTC)&lt;br /&gt;
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====2.2 Different Historical and Cultural Background====&lt;br /&gt;
Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not mention to translate them. (Wang Tao, 2018, 114)&lt;br /&gt;
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Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not to mention to translate them. (Wang Tao, 2018, 114)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:58, 18 December 2020 (UTC)&lt;br /&gt;
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For instance, the Chinese idiom &amp;quot;三顾茅庐&amp;quot;, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said, zhuge Liang was a genius. In order to ask Zhuge Liang to help him conquer the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain. However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappy. A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him.  (Qiu Jixin, 2002, 43)&lt;br /&gt;
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For instance, the Chinese idiom &amp;quot;三顾茅庐&amp;quot;, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said that zhuge Liang was a genius. In order to ask Zhuge Liang to help him win the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain. However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappily. A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him.  (Qiu Jixin, 2002, 43)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:58, 18 December 2020 (UTC)&lt;br /&gt;
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This idiom comes form this story.If we just translate &amp;quot;三顾茅庐&amp;quot; into &amp;quot;repeatedly to request somebody to take up a responsible post” or &amp;quot;have visited the cottage thrice in succession to call on somebody repeatedly&amp;quot;, foreigners would not get the allusion of it, hence the Chinese characteristics is lost somehow. (Qiu Jixin, 2002, 43)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:58, 18 December 2020 (UTC)&lt;br /&gt;
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Likewise, the idioms like &amp;quot;班门弄斧&amp;quot; and &amp;quot;卧薪尝胆&amp;quot; are all relevant to some historical figures, who are known by all Chinese people but unfamiliar to foreigners. Only when they have learned something about Zhuge Liang, Lu Ban, and Gou Jian can they get the meaning of these idioms. And it is the profound historical and cultural backgrounds that make the Chinese idioms hard to translate. (Qiu Jixin, 2002, 43)&lt;br /&gt;
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====2.3 Different religious beliefs====&lt;br /&gt;
As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also express language expression. (Jia Yunpeng, 2015, 65)&lt;br /&gt;
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As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also on language expression. (Jia Yunpeng, 2015, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 12:07, 18 December 2020 (UTC)&lt;br /&gt;
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In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms Buddhism or related to Buddhism, such as &amp;quot;放下屠刀，立地成佛&amp;quot;, &amp;quot;苦海无边，回头是岸&amp;quot;, and &amp;quot;醍醐灌顶&amp;quot;. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity. In the context of two different religious cultures, translators often meet translation difficulties. (Jia Yunpeng, 2015, 65)&lt;br /&gt;
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In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms of Buddhism or related to Buddhism, such as &amp;quot;放下屠刀，立地成佛&amp;quot;, &amp;quot;苦海无边，回头是岸&amp;quot;, and &amp;quot;醍醐灌顶&amp;quot;. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity and Catholicism. In the context of two different religious cultures, translators often meet translation difficulties. (Jia Yunpeng, 2015, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 12:07, 18 December 2020 (UTC)&lt;br /&gt;
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Take &amp;quot;放下屠刀，立地成佛&amp;quot; as an example. The idiom &amp;quot;放下屠刀&amp;quot; (lay down the butcher's knife) does not refer to the butcher's knife that actually kills. The &amp;quot;butcher's knife&amp;quot; here refers to malice, evil deeds and all delusions, delusions, confusion, differentiation and persistence. The sentence &amp;quot;放下屠刀，立地成佛&amp;quot; (Put down the butcher's knife and become a Buddha on the spot) means: the one who put down delusion, distinction, persistence, is the Buddha! The essence of &amp;quot;butcher knife&amp;quot; is &amp;quot;man's confusion to himself&amp;quot;. Many translation versions of this idiom are given, like &amp;quot;A killer becomes a Buddha at the moment he drops the knife to kill.&amp;quot; and &amp;quot;A wrongdoer may become a man of virtue once he does good.&amp;quot;; however, these versions both neglect the original Buddhist factors. If the cultural connotation is not expressed in translation, westerners would feel confused while reading. (Jia Yunpeng, 2015, 65)&lt;br /&gt;
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Take &amp;quot;放下屠刀，立地成佛&amp;quot; as an example. The idiom &amp;quot;放下屠刀&amp;quot; (lay down the butcher's knife) does not refer to the butcher's knife(lethal weapon). The &amp;quot;butcher's knife&amp;quot; here refers to malice, evil deeds ,all delusions, confusion, differentiation and persistence. The sentence &amp;quot;放下屠刀，立地成佛&amp;quot; (Put down the butcher's knife and become a Buddha on the spot) means: the one who puts down delusion, distinction, persistence, is the Buddha! The essence of &amp;quot;butcher knife&amp;quot; is &amp;quot;man's confusion to himself&amp;quot;. Many translation versions of this idiom are given, like &amp;quot;A killer becomes a Buddha at the moment he drops the knife to kill.&amp;quot; and &amp;quot;A wrongdoer may become a man of virtue once he does good.&amp;quot;; however, these versions both neglect the Buddhist factors of original idiom. If the cultural connotation is not expressed in translation, westerners would feel confused while reading. (Jia Yunpeng, 2015, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 12:07, 18 December 2020 (UTC)&lt;br /&gt;
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====2.4 Different Ways of Thinking====&lt;br /&gt;
As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the role of rationality in the Chinese and Western cultures. (Jiang Lei, 2003, 54)&lt;br /&gt;
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As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the rationality in the Chinese and Western cultures. (Jiang Lei, 2003, 54)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 12:17, 18 December 2020 (UTC)&lt;br /&gt;
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Reason has different contents and categories. Different categories of reason make up different rational structures. Although the outbreak of rationality is the common characteristic of Chinese and Western civilizations in the axial age, their rational structure is not the same.The rational structure of the ancient West includes logical reason, natural reason, practical reason, and aesthetic reason, but it lacks historical reason. Its rational structure is dominated by pure reason, while logical reason occupies a dominant position. (Jiang Lei, 2003, 54)&lt;br /&gt;
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The rational structure of China includes historical reason, natural reason and moral reason. It has logical thought which has not developed into logical reason. Among which historical reason occupies a dominant position. Logical reason dominates western thinking, while historical reason leads Chinese thinking. This difference in rational structure is the fundamental reason for the difference in Chinese and Western thinking. (Guo Jianzhong, 2000, 66)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 12:17, 18 December 2020 (UTC) sorry,这一段忘记粘贴复制，直接改动了&lt;br /&gt;
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The difference between Chinese civilization and Western civilization lies in the difference of rational structure. The difference between the western civilization and the Chinese civilization lies in the difference of dichotomy.Some of the differences between Chinese and Western dichotomies can be traced back to the differences between Chinese and Western languages. Different language features are the source of the differences between Chinese and Western cultures. (Jia Yunpeng, 2015, 66)&lt;br /&gt;
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===Chapter Three Comparative Analysis of foreignization and domestication Translation in Idiom Translation===&lt;br /&gt;
As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite serious. In order to induce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. (Guo Jianzhong, 2000, 65)&lt;br /&gt;
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As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite severe. In order to reduce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. (Guo Jianzhong, 2000, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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Domestication and foreignization translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &amp;quot;Chineseness&amp;quot; in idiom translation form Chinese to English. (Guo Jianzhong, 2000, 65)&lt;br /&gt;
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Domestication and foreignization translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domestication and foreignization, compares the different effects of the text translated by domestication and foreignization methods repectively and discusses the way to keep &amp;quot;Chineseness&amp;quot; in idiom translation form Chinese to English. (Guo Jianzhong, 2000, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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====3.1 A Brief Introduction of foreignization and domestication Translation====&lt;br /&gt;
Foreignization and domestication Translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995). &lt;br /&gt;
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Foreignization and domestication translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995). --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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Domestication translation is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it reduces the difficulty of the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent.  (Jiang Lei, 2003, 53)&lt;br /&gt;
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Domestication is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it is easier for the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent.  (Jiang Lei, 2003, 53)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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On the contrary, foreignization is to transform the information from one culture and language to another culture and language in a way that remains almost as it is. It endows the target language with new linguistic elements and also novel and unique forms of expression, which is conducive to the mutual communication and penetration of two heterogeneous cultures and languages, so as to promote their mutual integration. (Jiang Lei, 2003, 53)&lt;br /&gt;
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In his book, Venuti makes a critical study of western translation from the early 17th century to the present, and reveals that the strategy of &amp;quot;smooth translation&amp;quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti puts it bluntly that his purpose writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &amp;quot;resistance&amp;quot;. (Venuti, 1995,105) &lt;br /&gt;
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In his book, Venuti made a critical study of western translation from the early 17th century to the present, and revealed that the strategy of &amp;quot;smooth translation&amp;quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti put it bluntly that his purpose of writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &amp;quot;resistance&amp;quot;. (Venuti, 1995,105) --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tamper with the foreign text with the ethnocentrism of the culture of the target language. &amp;quot;Resistance&amp;quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. (Jiang Lei, 2003, 53)&lt;br /&gt;
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Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tampers with the foreign text with the ethnocentrism of the culture of the target language.&lt;br /&gt;
&amp;quot;Resistance&amp;quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. (Jiang Lei, 2003, 53)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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Nida is the representative of the domestication translation. He put forward the concept of functional equivalence, &amp;quot;The relationship between the target receptor and the target text should be equivalent to that between the source language receptor and the source text&amp;quot;, in order to eliminate the differences in language and culture in the translation. (Nida, 1993)&lt;br /&gt;
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====3.2 The Application of domestication Translation in Idiom Translation====&lt;br /&gt;
The ideal of Nida's domestication translation is the closest natural equivalent. Domestication translation maximizes the dominant position of the target language and makes the target language close to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately interpret the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. (Qiu Jixin, 2002, 42)&lt;br /&gt;
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The ideal of Nida's domestication translation is the closest natural equivalent. Domestication maximizes the dominant position of the target language and brings the target language closer to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately tranlate the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. (Qiu Jixin, 2002, 42)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignization and domestication method will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domestication method, we should realize that there are two premises to distinguish it: one is the domestication under the principle of fidelity, which is prescriptive and centered on the source language; another is domestication under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese. (Qiu Jixin, 2002, 42)&lt;br /&gt;
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Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignization and domestication methods will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domestication method, we should realize that there are two premises to distinguish it: one is the domestication under the principle of fidelity, which is prescriptive and centered on the source language; the other is domestication under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese. (Qiu Jixin, 2002, 42)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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That is to say, domestication translation can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same semantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. (Qiu Jixin, 2002, 42)&lt;br /&gt;
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That is to say, domestication method can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same semantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. For example, the Chinese idiom &amp;quot;时间就是金钱&amp;quot; is translated as &amp;quot;Time is money&amp;quot;, and &amp;quot;事实胜于雄辩&amp;quot; as &amp;quot;Facts speak louder than words&amp;quot;. (Qiu Jixin, 2002, 42)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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For example, the Chinese idiom &amp;quot;时间就是金钱&amp;quot; is translated as &amp;quot;Time is money&amp;quot;, and &amp;quot;事实胜于雄辩&amp;quot; as &amp;quot;Facts speak louder than words&amp;quot;. The other is a loyal premise of domestication, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &amp;quot;胆小如鼠&amp;quot; is translated into &amp;quot;as timid as a hare&amp;quot; instead of &amp;quot;as timid as a mouse&amp;quot;. (Jiang Lei, 2003, 54)&lt;br /&gt;
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The other is a loyal premise of domestication, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &amp;quot;胆小如鼠&amp;quot; is translated into &amp;quot;as timid as a hare&amp;quot; instead of &amp;quot;as timid as a mouse&amp;quot;. (Jiang Lei, 2003, 54)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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Another example of the application of domestication is the translation version of the famous Chinese novel 《红楼梦》 by David Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domestication. For the sentence &amp;quot;癞蛤蟆想天鹅吃。&amp;quot;(曹雪芹 165) , Hawkes translated it into &amp;quot; The toad on the ground wanting to eat the goose in the sky&amp;quot; [Hawkes, 2012, 242]. Here, Hawkes replaced &amp;quot;swan&amp;quot;(天鹅) with &amp;quot;goose&amp;quot;(鹅), since the associative meanings of &amp;quot;swan&amp;quot; and &amp;quot;goose&amp;quot; are completely different in western culture. (He Fang, 2019, 171)&lt;br /&gt;
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Another example of the application of domestication is the translation version of the famous Chinese novel 《红楼梦》 by David Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domestication. For the sentence &amp;quot;癞蛤蟆想天鹅吃。&amp;quot;(曹雪芹 165) , Hawkes translated it into &amp;quot; The toad on the ground wanting to eat the goose in the sky&amp;quot; [Hawkes, 2012, 242]. Here, Hawkes replaced &amp;quot;swan&amp;quot;(天鹅) with &amp;quot;goose&amp;quot;(鹅), since the associative meanings of &amp;quot;swan&amp;quot; and &amp;quot;goose&amp;quot; are completely different in western culture. &lt;br /&gt;
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====3.3  The Application of foreignization Translation in Idiom Translation====&lt;br /&gt;
====3.3  The Application of foreignization translation in Idiom Translation====--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
Foreignization translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation, accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. (Qiu Jixin, 2002, 43) &lt;br /&gt;
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Foreignizing translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation and accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. (Qiu Jixin, 2002, 43) --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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For example, if &amp;quot;一箭双雕&amp;quot; is translated as &amp;quot;kill two hawks with one arrow&amp;quot; instead of &amp;quot;kill two birds with one stone&amp;quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignization translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieve equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture.  (Jiang Lei, 2003, 54)&lt;br /&gt;
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For example, if &amp;quot;一箭双雕&amp;quot; is translated into &amp;quot;kill two hawks with one arrow&amp;quot; instead of &amp;quot;kill two birds with one stone&amp;quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignization translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieves equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture.  (Jiang Lei, 2003, 54)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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Moreover, another example of the application of foreignization is the translation version of the famous Chinese novel 《红楼梦》 by Yang Xianyi(杨宪益). Contrary to Hawkes’s translation, Yang adopted the method of foreignization while confronting with cultural factors in translating. As for &amp;quot;癞蛤蟆想天鹅吃&amp;quot;[曹雪芹, 1791, 165], Yang translated it into &amp;quot;A toad hankering for a tatste of swan&amp;quot;(Yang Xianyi, 1978). Here, Yang keeps the &amp;quot;Chineseness&amp;quot; in source language through literal translation. (He Fang, 2019, 172)&lt;br /&gt;
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Choosing domestication or foreignization is not a question of black and white, but a question of grasping &amp;quot;degree&amp;quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignization and domestication shouldn’t be treated simply separately. In many cases, the use of the two methods is restricted by the pragmatic environment and must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domestication and foreignization. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. (Qiu Nengsheng, 2019, 56)&lt;br /&gt;
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Choosing domestication or foreignization is not a question of black and white, but a question of grasping &amp;quot;degree&amp;quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignization and domestication shouldn’t be treated separately. In many cases, the two methods must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domestication and foreignization. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. (Qiu Nengsheng, 2019, 56)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignization. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection method of foreignization and domestication should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domestication or foreignization, communicative purpose and pragmatic environment all affect the choice of methods.  (Qiu Nengsheng, 2019, 56)&lt;br /&gt;
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However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignization. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection of foreignization and domestication should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domestication or foreignization, communicative purpose and pragmatic environment all affect the choice of methods.  (Qiu Nengsheng, 2019, 56)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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For example, the primary purpose of Yang’s translation of Dream in Red Chamber is to spread Chinese culture; therefore, he mainly adopted the method of foreignization in idiom translation, so that the &amp;quot;Chineseness&amp;quot; in idioms could be kept as much as possible. And Hawkes mainly used domestication in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different chooses of translation methods. (He Fang, 2019, 172)&lt;br /&gt;
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For example, the primary purpose of Yang’s translation of ''Dream in Red Chamber'' is to spread Chinese culture; therefore, he mainly adopted the method of foreignization in idiom translation, so that the &amp;quot;Chineseness&amp;quot; in idioms could be kept as much as possible. And Hawkes mainly used domestication in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different choices of translation methods. (He Fang, 2019, 172)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Fomestication and foreignization have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignization or domestication cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. (Guo Jianzhong, 2000, 65)&lt;br /&gt;
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Fomestication and foreignization have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignization or domestication cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. (Guo Jianzhong, 2000, 65)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignization translation method can reserve enough space for readers to appreciate and analyze foreign cultures. (Qiu Nengsheng, 2019, 56)&lt;br /&gt;
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One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignizing translation method can reserve enough space for readers to appreciate and analyze foreign cultures. (Qiu Nengsheng, 2019, 56)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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The translator should have enough confidence in readers when adopting foreignization strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignization translation methods should be emphasized when translating idioms rich in cultural meaning. (Guo Jianzhong, 2000, 12) &lt;br /&gt;
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The translator should have enough confidence in readers when adopting foreignization strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignizing translation methods should be emphasized when translating idioms rich in cultural meaning. (Guo Jianzhong, 2000, 12) --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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However, the foreignization strategy has its limits. Regardless of whether for interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. Idioms convey a country’s culture brilliantly. (Qiu Jixin, 2002, 45)&lt;br /&gt;
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However, the foreignization strategy has its limitations. Regardless of interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. Idioms convey a country’s culture brilliantly. (这个brilliantly这里的表达不知道怎么改）(Qiu Jixin, 2002, 45)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and must pay attention to the fact that the translation must achieve communication, coordination and docking with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture. (Qiu Jixin, 2002, 45)&lt;br /&gt;
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In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and pay attention to the fact that the translation must be helpful to communication, coordination and dock with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture. (Qiu Jixin, 2002, 45)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:12, 18 December 2020 (UTC)&lt;br /&gt;
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===Bibliography===&lt;br /&gt;
*Guo Jianzhong 郭建中. (2000). 韦努蒂及其解构主义的翻译策略 [Venuti and his deconstructionist translation strategy]. 中国翻译 [Chinese translation]. 【文献中杂志缺页数】&lt;br /&gt;
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*He Fang 贺 芳. (2019). 异化翻译与文化传播——以杨宪益《红楼梦》歇后语翻译为个案 [Alienation Translation and Cultural Communication-- A Case Study of Yang Xianyi's Idiom Translation in A Dream of Red Mansions]&lt;br /&gt;
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*Jia Yunpeng 贾云鹏. (2015). 汉语四字成语翻译中的文化补偿与缺失 [Cultural Compensation and Deficiency in the Translation of Chinese Four-character Idioms]. 语文建设 [China Academic Journal].&lt;br /&gt;
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*Jiang Lei 蒋	磊. (2003). 英汉文化差异与习语翻译的归化和异化 [E -C Cultural Differences and Foreignization  &amp;amp;Domestication in Idioms Translation]. 武汉: 武汉大学出版社 [Wuhan: Wuhan University Press].&lt;br /&gt;
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*Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Alienation and Adaptation in Idiom Translation]. 语言与翻译 [Language and Translation].&lt;br /&gt;
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*Wang Tao 王 涛. (2018). 英汉习语翻译中的文化缺失与补偿 [Cultural Deficiency and Compensation in Translation of English and Chinese Idioms]. 三峡大学 [China Three Gorges University].&lt;br /&gt;
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*Qiu Nengsheng 邱能生. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization and Domestication in Translation of English and Chinese Idioms under the Background of Cultural Differences]. 上海翻译 [Shanghai Journal of Translators].&lt;br /&gt;
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*Yang Xianyi 杨宪益. (1978). 红楼梦 [A Dream of Red Mansions]. 外文出版社 [Foreign Language Press].&lt;br /&gt;
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*David Hawkes. (2012). The Story of The Stone. Shanghai Foreign Language Education Press.&lt;br /&gt;
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*Venuti,L.The Translator′s Invisibility [M].London &amp;amp; New York:Routledge,1995:20&lt;br /&gt;
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*Nida, Eugene. A.(1993). Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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*Nida, Eugene A. &amp;amp; Charles R. Taber. (1969). The Theory and Practice of Translation. Leiden: E. J. Brill.&lt;br /&gt;
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==Translation of English Proverbs from the Perspective of Culture	韩海洋 202020080602 Han Haiyang==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
As close communication between eastern and western countries,nowadays cultural influence is increasingly becoming more and more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently than the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase.&lt;br /&gt;
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As close communication between eastern and western countries, nowadays cultural influence is increasingly becoming more and more importance than ever before, which is   benefited from language exchanging. For translation of English proverbs, proper translation strategies should be seriously considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies are concluded. In terms of cultural influence and social communication, foreignization and domestication are selected in which the former is used more frequently that the latter. Thus, it is said that more and more translators apply foreignization to translate English proverbs. --[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 11:58, 16 December 2020 (UTC)&lt;br /&gt;
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===Key Words===&lt;br /&gt;
proverbs; culture; translation strategies&lt;br /&gt;
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===从文化视角来看英语谚语的翻译===&lt;br /&gt;
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===摘要===&lt;br /&gt;
由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。&lt;br /&gt;
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===关键词===&lt;br /&gt;
谚语; 文化; 翻译方法 &lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.&lt;br /&gt;
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Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.&lt;br /&gt;
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With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is normal to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange has been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 11:45, 18 December 2020 (UTC)&lt;br /&gt;
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Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 11:45, 18 December 2020 (UTC)&lt;br /&gt;
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===2. Chapter 1 General Introduction to English proverbs===&lt;br /&gt;
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====1.1 Definition of Proverbs====&lt;br /&gt;
As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which conceals the clear in the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”.(Honeck 1997,12)&lt;br /&gt;
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&amp;quot;A proverbs is a statement which clarifies the unclear, or which indicates intellectual concepts through concrete images, or which makes clear the truth in a furtive fashion.&amp;quot;(Honeck 1997,12)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:03, 18 December 2020 (UTC)&lt;br /&gt;
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Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it.(Champion 1966,15)&lt;br /&gt;
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&amp;quot;A proverbs is a short and generally known sentence of folks which contains wisdom, truths, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation.&amp;quot;--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:03, 18 December 2020 (UTC)&lt;br /&gt;
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1.1.1 Origin of Proverbs from Abroad&lt;br /&gt;
Proverbs are not come out from nowhere, and the amount and meaning of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most western religions, especially Christianity. &lt;br /&gt;
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and the amounts and meanings of them do not stay the same eternally.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:03, 18 December 2020 (UTC)&lt;br /&gt;
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Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.(Li Keshi 2009,35-38)&lt;br /&gt;
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1.1.2 Origin of Proverbs at home&lt;br /&gt;
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In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). &lt;br /&gt;
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Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.Proverbs in China are said to date back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain.(ibid 2003,31)&lt;br /&gt;
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It is said that proverbs in China dated back to the period, which words were created.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:03, 18 December 2020 (UTC)&lt;br /&gt;
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====1.2 Characteristics of Proverbs====&lt;br /&gt;
Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Take environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”&lt;br /&gt;
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Taking environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs which are related with sea spoken by English people “In a clam sea, every man is a pilot.”--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:17, 18 December 2020 (UTC)&lt;br /&gt;
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1.2.1 Cultural Characteristics of Proverbs&lt;br /&gt;
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Broadly speaking, culture contains all the aspects of the society and gives its people ability viewing the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. &lt;br /&gt;
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roadly speaking, culture contains all the aspects of the society and gives its people ability to view the world. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export taking place here and there.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:17, 18 December 2020 (UTC)&lt;br /&gt;
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Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. &lt;br /&gt;
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What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others.(Li Keshi 2009,35-38)&lt;br /&gt;
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1.2.2 Rhetorical Characteristics of Proverbs&lt;br /&gt;
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As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. &lt;br /&gt;
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Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to showing its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. &lt;br /&gt;
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Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to show its vivid or obscure picture to receptor who may not understand directly from plain words.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:17, 18 December 2020 (UTC)&lt;br /&gt;
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Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.(Guo Min 2008,123-127)&lt;br /&gt;
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From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning.&lt;br /&gt;
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====1.3 Differences Between Proverbs and Maxims, Sayings, Idioms====&lt;br /&gt;
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It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. Some researchers disagree with each other on the definitions of these similar terms. &lt;br /&gt;
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Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mention that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” (Burton Stevenson 1987,20)&lt;br /&gt;
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In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mentioned that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” (Burton Stevenson 1987,20)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:30, 18 December 2020 (UTC)&lt;br /&gt;
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As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writer or philosopher.(Cordry 1997,26-28)&lt;br /&gt;
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It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writers or philosophers.(Cordry 1997,26-28)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:30, 18 December 2020 (UTC)&lt;br /&gt;
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Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases.  While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description.(Fergusson 1983,28-31) &lt;br /&gt;
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In regard to idiom, its meaning is not the meaning which each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. --[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:30, 18 December 2020 (UTC)&lt;br /&gt;
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In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others.&lt;br /&gt;
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In conclusion, proverbs are prevalent in the world enjoying widespredly social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature.With such understanding, it lays the foundation for researchers to better study and distinguish the differences from others.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:30, 18 December 2020 (UTC)&lt;br /&gt;
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===2. Chapter 2 Relation Between Culture and Proverbs Translation===&lt;br /&gt;
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====2.1 Definition of Culture====&lt;br /&gt;
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As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …”  . &lt;br /&gt;
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While Nida, a famous linguistic and translation theorist, gives his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.(Katan 2004,16)&lt;br /&gt;
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While Nida, a famous linguistic and translation theorist, gave his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community which uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:39, 18 December 2020 (UTC)&lt;br /&gt;
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====2.2 Language and Proverb====&lt;br /&gt;
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It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Take English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.&lt;br /&gt;
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Taking English and Chinese for example, they both represent their special culture and unique characteristics respectively.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:57, 18 December 2020 (UTC)&lt;br /&gt;
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====2.3 Value and proverbs====&lt;br /&gt;
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Value is associated with sorts of people’s live and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints.(Chen Jinshi 2006,72-77) &lt;br /&gt;
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Value is associated with sorts of people’s lives and is defined by these people who living in a specific area.Value of appreciation on people is an obvious example that eastern and western countries have extreme ideas on how to appraise a person.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:57, 18 December 2020 (UTC) &lt;br /&gt;
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Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve.  &lt;br /&gt;
As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.(Chen Jinshi 2006,72-77)&lt;br /&gt;
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====2.4 Cultural Similarity on Chinese and English Proverbs====&lt;br /&gt;
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Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs shared some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.(Han Jiaoyang 2009,111-117)&lt;br /&gt;
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Even so, Chinese and English proverbs share some similarities in various ways, which are performed in different forms and speeches of proverbs.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:57, 18 December 2020 (UTC)&lt;br /&gt;
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It is no exaggeration to say that cultural exchanges are rapidly happening all over the world, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)&lt;br /&gt;
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They describe the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)&lt;br /&gt;
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====2.5 Cultural Differences in Chinese and English Proverbs====&lt;br /&gt;
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Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into several parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.(Fu Yanli 2016,91-92)&lt;br /&gt;
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The grammatical sentence structure and the pronunciation for example, have little in common regarding they belong to different language families.(Fu Yanli 2016,91-92)--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:57, 18 December 2020 (UTC)&lt;br /&gt;
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Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. &lt;br /&gt;
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Therefore both of the proverbs are created under the influence surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. --[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:57, 18 December 2020 (UTC)&lt;br /&gt;
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In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family.(Fu Yanli 2016,91-92) &lt;br /&gt;
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In different communities, people have different perceptions of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose representing local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:57, 18 December 2020 (UTC)&lt;br /&gt;
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Different cultural heritages and religious beliefs are also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, the range of translation, culture is a must during translation&lt;br /&gt;
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Different cultural heritages and religious beliefs also play a key role in the formation of proverbs.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:57, 18 December 2020 (UTC)&lt;br /&gt;
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===3. Chapter 3 Translation Strategies for English Proverbs===&lt;br /&gt;
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Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly.  It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. &lt;br /&gt;
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The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development.(Chen Daoen 2015,257-258)&lt;br /&gt;
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====3.1 Domestication and Foreignization====&lt;br /&gt;
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Domestication is a target language oriented translation device, which is to change the flavor into reader’s meet. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. &lt;br /&gt;
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Domestication is a target language oriented translation device, which is to change the flavor into reader’s interest. --[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 13:03, 18 December 2020 (UTC)&lt;br /&gt;
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As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti 2004,19-20).&lt;br /&gt;
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As communication of culture and technology grow rapidly and each country would like to strengthen its comprehensive power by taking into foreign culture.&lt;br /&gt;
he found only two methods which can affect the domestic readers' understanding of the foreign authors, “Either the translator leaves the author in peace, as much as possible, and moves the readers towards him; or he leaves the readers in peace, as much as possible, and moves the author towards them.” (Venuti 2004,19-20).--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 13:03, 18 December 2020 (UTC)&lt;br /&gt;
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In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun's opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” , while foreign was “translation is like going abroad for traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid 1984,301) Expect the definition of domestication and foreignization, when doing the work of translation, translator should consider the perspective of culture and the intention of the writer as well as readers whether they want to the culture of source text to be originally intact or changed into readers’ culture.(罗新璋 1984,301)&lt;br /&gt;
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====3.2 Foreignization over Domestication for Translation====&lt;br /&gt;
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As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators. as the exchange of economy and culture, it is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. &lt;br /&gt;
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The awareness of culture is not developed, because people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. --[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 13:17, 18 December 2020 (UTC)&lt;br /&gt;
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As far as social development is concerned, cultural exchange is more frequent than ever before&lt;br /&gt;
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In another way, people at that time are barely having the chance to access to education, in particular for poor family that most of them are illiterate.It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed.So in choosing translation strategies, it is no doubt that it should be domestication centered.(Ding Min 2014,72-76)&lt;br /&gt;
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For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. &lt;br /&gt;
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Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.(Ding Min 2014,72-76)&lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
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Proverbs are culture-loaded words that have been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offers the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. &lt;br /&gt;
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Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, has been keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool to assist foreignization in translation. &lt;br /&gt;
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Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.&lt;br /&gt;
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In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.&lt;br /&gt;
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Foreignization leaves the culture of source text untouched, wishing to give target readers exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 13:21, 18 December 2020 (UTC)&lt;br /&gt;
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===5. References===&lt;br /&gt;
*Bian Xiaofei, 边晓霏(2013). 从文化视角探究谚语翻译[Exploring proverb translation from a cultural perspective]. ''保定:河北大学''[Baoding:Hebei University] .&lt;br /&gt;
*Chen Jinshi,陈金诗(2006). 英汉谚语的特征与翻译[Characteristics and translation of English-Chinese proverbs]. ''武汉:中南民族大学''[uhan: Zhongnan University for Nationalities].&lt;br /&gt;
*Dong Jing,董晶,Liu Yalou,刘亚楼(2015).英语谚语的文化内涵与翻译方法[The cultural connotation and translation of English proverbs]. ''河北联合大学学报(社科版)'',(1): p: 100-103.&lt;br /&gt;
*Fu Yanli,付艳丽(2016). 跨文化语境下英语谚语翻译的意蕴与特征表达[The Meaning and Characteristics of English Proverbs Translation in Cross-cultural Context]. ''济南职业学院学报''[Journal of Jinan Vocational College],(4): p: 90-91.&lt;br /&gt;
*Ding Min,丁敏(2014). 从文化视角看英语谚语的翻译[Translation of English proverbs from a cultural perspectiv]. 西安:西安外国语大学[Xi'an:Xi'an University of Foreign Languages].&lt;br /&gt;
*Guo Min,郭敏(2008). 英汉谚语中的文化差异及其翻译[Cultural differences in English and Chinese proverbs and their translation]. 重庆:西南大学[Chongqing: Southwest University].&lt;br /&gt;
*Han Jiaoyang,韩娇阳(2009). 从谚语英汉互译中看文化缺省及其补偿策略[Cultural default and its compensation strategy in English-Chinese translation of proverbs]. 长春:吉林大学[Changchun: Jilin University],.&lt;br /&gt;
*Lu Daoyen,陆道恩(2015).文化视角下英语谚语的翻译技巧[Translation skills of English proverbs from a cultural perspectiv]. ''高教学刊''[Journal of Higher Education],(24): P:257-258.&lt;br /&gt;
*Li Keshi,李克时(2009). 论英语谚语汉译的异化趋势[On the trend of alienation in Chinese translation of English proverbs]. 南京:南京农业大学[Nanjing: Nanjing Agricultural University].&lt;br /&gt;
*Liu Weiping,刘卫平(2008). 文化视角下的美国谚语翻译[Translation of American Proverbs in Cultural Perspective]. 桂林:广西师范大学[Guilin: Guangxi Normal University].&lt;br /&gt;
*Li, H.(2012) A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University.&lt;br /&gt;
*Mo, L, H.(2014) A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University.&lt;br /&gt;
*Mao, Q.(2017) A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy .&lt;br /&gt;
*You, X, J.(2009) A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University.&lt;br /&gt;
*Zhao, C, H.(2012) A Study on Proverb Translation from Cross-Cultural Perspective[D].Changchun:Jilin University.&lt;br /&gt;
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==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory     刘金惺琦 liu jinxingqi==&lt;br /&gt;
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==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory ==&lt;br /&gt;
&amp;lt;center&amp;gt;解帆 Xie Fan&amp;lt;/center&amp;gt;&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. &lt;br /&gt;
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On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.&lt;br /&gt;
&lt;br /&gt;
On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Chinese neologisms; cross-cultural theory; English translation; strategies&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。&lt;br /&gt;
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一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
汉语新词；跨文化翻译；英译；策略&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. &lt;br /&gt;
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Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.&lt;br /&gt;
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===Chapter 1 Overview of Chinese Neologisms===&lt;br /&gt;
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Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015: 80) To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.&lt;br /&gt;
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1.1 Classifications of Chinese Neologisms&lt;br /&gt;
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Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words.&lt;br /&gt;
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Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. (Li Chunjiang, 2015: 62) Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words.&lt;br /&gt;
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Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. Chinese abbreviations have their own laws of forming, so it is easy for us to understand as long as we recognize the laws of them. Besides, in the premise of reflecting the principle of simplicity and the purpose of economy frugality, Chinese abbreviations are helpful to ensure goog rationale and high semantic transparency. Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects.&lt;br /&gt;
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Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.&lt;br /&gt;
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The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &amp;quot;做&amp;quot; and &amp;quot;作&amp;quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. &lt;br /&gt;
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1.2 Characteristics of Chinese Neologisms&lt;br /&gt;
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In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty.&lt;br /&gt;
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Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &amp;quot;红色炸弹(red bomb)&amp;quot; is used to describe the overwhelming wedding invitations. &lt;br /&gt;
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We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.&lt;br /&gt;
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The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.&lt;br /&gt;
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With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.&lt;br /&gt;
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===Chapter 2 Cross-cultural Translation Theory and Its Significance===&lt;br /&gt;
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As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.&lt;br /&gt;
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2.1 Hornby’s Cross-cultural Translation Theory&lt;br /&gt;
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Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Wang Weidong, 2011: 78).&lt;br /&gt;
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In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.&lt;br /&gt;
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2.2 Significance of Cross-cultural Translation Theory&lt;br /&gt;
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The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.&lt;br /&gt;
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2.2.1 Learning the Chinese Idiomatic Expression&lt;br /&gt;
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Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. &lt;br /&gt;
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2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms&lt;br /&gt;
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Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Chinese neologisms are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms.&lt;br /&gt;
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2.2.3 Conveying Emotion Expressed by Chinese Neologisms&lt;br /&gt;
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Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding.&lt;br /&gt;
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===Chapter 3 Methods of Chinese Neologisms Translation===&lt;br /&gt;
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To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory.&lt;br /&gt;
The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. &lt;br /&gt;
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Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.&lt;br /&gt;
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Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.&lt;br /&gt;
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Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.&lt;br /&gt;
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3.1 Transliteration&lt;br /&gt;
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Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient.&lt;br /&gt;
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Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. &lt;br /&gt;
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For example, &amp;quot;大妈&amp;quot; is transliterated into &amp;quot;dama&amp;quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &amp;quot;风水&amp;quot; (fengshui), &amp;quot;八卦&amp;quot; (bagua), &amp;quot;太极&amp;quot; (taichi), &amp;quot;气功&amp;quot; (qigong), and &amp;quot;武术 &amp;quot;(wushu), &amp;quot;功夫&amp;quot; (kungfu), &amp;quot;胡同&amp;quot; (hutong), &amp;quot;麻将&amp;quot; (mahjong), &amp;quot;叩头&amp;quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. &lt;br /&gt;
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3.2 Literal Translation&lt;br /&gt;
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Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &amp;quot;commonness&amp;quot; between English and Chinese. Above all, literal translation helps promote Chinese culture.&lt;br /&gt;
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Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation.The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. &lt;br /&gt;
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 In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural.&lt;br /&gt;
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Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation.&lt;br /&gt;
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3.3 Free Translation&lt;br /&gt;
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Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes.&lt;br /&gt;
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Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese.&lt;br /&gt;
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==='''Conclusion'''===&lt;br /&gt;
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The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. &lt;br /&gt;
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Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. (Tian Longjiao, 2013: 160) Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. On the other hand, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. &lt;br /&gt;
In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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[10] 李春江. 汉语网络新词的英译探究[J]. 宁波:宁波工程学院学报, 2015. &lt;br /&gt;
[11] 廖颖颖． 论中国主流英语新闻报刊对中国特色词语的英译策略[J]. 长沙:湖南师范大学学报, 2008.&lt;br /&gt;
[12] 刘宓庆. 新编当代翻译理论[M]. 北京:中国对外翻译出版公司, 2005.&lt;br /&gt;
[13] 刘晓骏. 汉语网络新词英译中的文化因素[J]．内蒙古:语文学刊，2012.&lt;br /&gt;
[14] 欧阳因. 朗文中国流行新词语[M]. 北京:北京大学出版社, 2000．&lt;br /&gt;
[15] 丘柳珍. 汉语网络新词的英译[J]. 赤峰学院学报:自然科学版, 2014.&lt;br /&gt;
[16] 田龙娇. 对外汉语新词新语教学研究[D]. 四川师范大学, 2013.&lt;br /&gt;
[17] 王维东. 网络热词汉译英探究[J]. 北京:中国翻译, 2011.&lt;br /&gt;
[18］吴秋芬,杨司桂. 汉语新词英译研究十年述评[J]. 燕山大学学报, 2014.&lt;br /&gt;
[19] 杨全红. 高级翻译十二讲[M]. 武汉:武汉大学出版社, 2009.&lt;br /&gt;
[20] 张健,唐见端. 略谈汉语新词新义的英译[J]. 中国翻译, 1996.&lt;br /&gt;
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==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory-解帆 Xie Fan 202070080637 英语口译==&lt;br /&gt;
&amp;lt;center&amp;gt;解帆 Xie Fan 202070080637 英语口译&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. &lt;br /&gt;
&lt;br /&gt;
On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
Chinese neologisms; cross-cultural theory; English translation; strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
跨文化翻译理论指导下汉语新词英译的研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。&lt;br /&gt;
&lt;br /&gt;
一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
汉语新词；跨文化翻译；英译；策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. &lt;br /&gt;
&lt;br /&gt;
Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Overview of Chinese Neologisms===&lt;br /&gt;
&lt;br /&gt;
Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;the&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) transmission of Chinese language. (Fu Rong, 2015,79)&lt;br /&gt;
&lt;br /&gt;
To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;space&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words. (Fu Rong, 2015,80)&lt;br /&gt;
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====1.1 Classifications of Chinese Neologisms====&lt;br /&gt;
&lt;br /&gt;
Old words endowed with new meanings, as the name suggests, are existent words that have been (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;delete that have been&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)endowed with new meanings for reuse even though have been forgotten for a long time. Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. (Li Chunjiang, 2015,59)&lt;br /&gt;
&lt;br /&gt;
With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;inappropriate&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words. (Li Chunjiang, 2015,62)&lt;br /&gt;
&lt;br /&gt;
Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;add the following&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)three forms. (Liao Yingying 2008,66)&lt;br /&gt;
&lt;br /&gt;
First, extracted initials. Such as “哥哥(brother)--GG(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;abbreviations of transliteration of Chinese characteristics&amp;quot;哥哥&amp;quot;&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. (Liao Yingying 2008,67)&lt;br /&gt;
&lt;br /&gt;
Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;through&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects. (Liao Yingying 2008,68)&lt;br /&gt;
&lt;br /&gt;
Newly generated words can be roughly divided into (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;the following&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. (Ou Yangyin 2000,23)&lt;br /&gt;
&lt;br /&gt;
With new things coming in(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;springing up&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC), people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. (Ou Yangyin 2000,24)&lt;br /&gt;
&lt;br /&gt;
A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;updating&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) to produce more new words to meet the requirements of social communication.(Liu Miqing 2005,45)&lt;br /&gt;
&lt;br /&gt;
The advancement of globalization, communication and cooperation in some fields among countries are deepening(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;developing&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. (Li Chunjiang, 2015,63)&lt;br /&gt;
&lt;br /&gt;
In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &amp;quot;做&amp;quot; and &amp;quot;作&amp;quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;one after another&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC). “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. (Li Chunjiang, 2015,63)&lt;br /&gt;
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====1.2 Characteristics of Chinese Neologisms====&lt;br /&gt;
&lt;br /&gt;
In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;their&amp;lt;/span&amp;gt;) --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty. (Kang Shiyong 2003,152)&lt;br /&gt;
&lt;br /&gt;
Chinese neologisms come from a wide range of sources(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;various ways&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC), but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &amp;quot;红色炸弹(red bomb)&amp;quot; is used to describe the overwhelming wedding invitations. (Wang Weidong 2011,347)&lt;br /&gt;
&lt;br /&gt;
We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;such&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.(Wang Weidong 2011,349)&lt;br /&gt;
&lt;br /&gt;
The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;For example,&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)“人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.(Wang Weidong 2011,350)&lt;br /&gt;
&lt;br /&gt;
With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;increasingly strong&amp;lt;/span&amp;gt;) --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.(Wang Weidong 2011,351)&lt;br /&gt;
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===Chapter 2 Cross-cultural Translation Theory and Its Significance===&lt;br /&gt;
&lt;br /&gt;
As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;them and their&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)significance helps improve the quality of translation.(Fu Rong 2015,80）&lt;br /&gt;
&lt;br /&gt;
====2.1 Hornby’s Cross-cultural Translation Theory====&lt;br /&gt;
&lt;br /&gt;
Cross-cultural translation theory refers to translation across (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;transending&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. (Snell Hornby 1995,21)&lt;br /&gt;
&lt;br /&gt;
In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;construction&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC), sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. (Snell Hornby 1995,24)&lt;br /&gt;
&lt;br /&gt;
Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;during translating&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Snell Hornby 1995,30)&lt;br /&gt;
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In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;improved&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC).(Jing Huang 2019,433)&lt;br /&gt;
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====2.2 Significance of Cross-cultural Translation Theory====&lt;br /&gt;
&lt;br /&gt;
The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;also&amp;lt;/span&amp;gt;)cultural--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC). Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.(Snell Hornby 1995,47)&lt;br /&gt;
&lt;br /&gt;
=====2.2.1 Learning the Chinese Idiomatic Expression=====&lt;br /&gt;
&lt;br /&gt;
Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;following&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. (Kang Shiyong 2003,178)&lt;br /&gt;
&lt;br /&gt;
In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;expressions&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC). (Kang Shiyong 2003,179)&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms=====&lt;br /&gt;
&lt;br /&gt;
Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. They are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;with&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) Chinese neologisms. (Kang Shiyong 2003,181)&lt;br /&gt;
&lt;br /&gt;
It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;delete above&amp;lt;/span&amp;gt;) --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms. (Kang Shiyong 2003,182)&lt;br /&gt;
&lt;br /&gt;
=====2.2.3 Conveying Emotion Expressed by Chinese Neologisms=====&lt;br /&gt;
&lt;br /&gt;
Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;contained&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC). (Kang Shiyong 2003,183)&lt;br /&gt;
&lt;br /&gt;
For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;describes&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding. (Kang Shiyong 2003,183)&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Methods of Chinese Neologisms Translation===&lt;br /&gt;
&lt;br /&gt;
To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;employing&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)appropriate ways of translating and following principles of cross-cultural translation theory. The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. (Liu Miqing 2005,77)&lt;br /&gt;
&lt;br /&gt;
Nowadays, it is common to see(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;observe&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.(Li Chunjiang 2015,63)&lt;br /&gt;
&lt;br /&gt;
Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;long&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC). For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.(Li Chunjiang 2015,63)&lt;br /&gt;
&lt;br /&gt;
Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;add to&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)be spread in the process of translation.(Li Chunjiang 2015,64)&lt;br /&gt;
&lt;br /&gt;
====3.1 Transliteration====&lt;br /&gt;
&lt;br /&gt;
Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient. Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;readers&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. (Fu Rong 2015,81)&lt;br /&gt;
&lt;br /&gt;
For example, &amp;quot;大妈&amp;quot; is transliterated into &amp;quot;dama&amp;quot; and (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;has&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &amp;quot;风水&amp;quot; (fengshui), &amp;quot;八卦&amp;quot; (bagua), &amp;quot;太极&amp;quot; (taichi), &amp;quot;气功&amp;quot; (qigong), and &amp;quot;武术 &amp;quot;(wushu), &amp;quot;功夫&amp;quot; (kungfu), &amp;quot;胡同&amp;quot; (hutong), &amp;quot;麻将&amp;quot; (mahjong), &amp;quot;叩头&amp;quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. (Fu Rong 2015,82)&lt;br /&gt;
&lt;br /&gt;
====3.2 Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &amp;quot;commonness&amp;quot; between English and Chinese. Above all, literal translation helps promote Chinese culture. Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;delete a process&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) cultural transplantation. (Fu Rong 2015,82)&lt;br /&gt;
&lt;br /&gt;
The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect way (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ways&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. (Fu Rong 2015,83)&lt;br /&gt;
&lt;br /&gt;
In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural. Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;manifest&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC) its Chinese characteristics and cultural connotation. (Fu Rong 2015,83)&lt;br /&gt;
&lt;br /&gt;
====3.3 Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes. Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;conveys&amp;lt;/span&amp;gt;) --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)the general idea of Chinese neologisms. (Fu Rong 2015,84)&lt;br /&gt;
&lt;br /&gt;
For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;add to&amp;lt;/span&amp;gt;)--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 09:25, 18 December 2020 (UTC)strictly stick to Chinese, it can better reflect the meaning of Chinese. (Fu Rong 2015,84)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. (Ou Yangyin 2008,88)&lt;br /&gt;
&lt;br /&gt;
In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. (Ou Yangyin 2008,91)&lt;br /&gt;
&lt;br /&gt;
In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. (Ou Yangyin 2008,143)&lt;br /&gt;
&lt;br /&gt;
To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. (Ou Yangyin 2008,155)&lt;br /&gt;
&lt;br /&gt;
Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. (Liu Miqing 2005,387)&lt;br /&gt;
&lt;br /&gt;
Plus, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. (Liu Miqing 2005,389)&lt;br /&gt;
&lt;br /&gt;
In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.(Liu Miqing 2005,391)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.&lt;br /&gt;
&lt;br /&gt;
*Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.&lt;br /&gt;
&lt;br /&gt;
*Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.&lt;br /&gt;
&lt;br /&gt;
*Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.&lt;br /&gt;
&lt;br /&gt;
*Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
*Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.&lt;br /&gt;
&lt;br /&gt;
*Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.&lt;br /&gt;
&lt;br /&gt;
*Fu Rong付蓉.(2015).从跨文化的角度探讨汉语新词新语的英译[A Study of English Translation of Chinese Neologisms from a Cross-cultural Perspective].语文建设Language Planning&lt;br /&gt;
&lt;br /&gt;
*Kang Shiyong亢世勇.(2003).《新词语大辞典》的编撰[The Compiling of Dictionary of Chinese Neologisms].辞书研究Lexicographical Studies&lt;br /&gt;
&lt;br /&gt;
*Li Chunjiang李春江.(2015).汉语网络新词的英译探究[A Study of Chinese Online Neologisms].宁波工程学院学报Journal of Ningbo University of Technology&lt;br /&gt;
&lt;br /&gt;
*Liao Yingying廖颖颖．(2008).论中国主流英语新闻报刊对中国特色词语的英译策略[Strategies of English Translation of Words with Chinese Characteristics Used by Chinese Mainstream English Newspapers].湖南师范大学学报Journal of Hunan Normal University&lt;br /&gt;
&lt;br /&gt;
*Liu Miqing刘宓庆.(2005).''新编当代翻译理论''[''A New Edition of Contemporary Translation Theory''].北京：中国对外翻译出版公司 Beijing:National Translation and Publishing Company of China&lt;br /&gt;
&lt;br /&gt;
*Ou Yangyin欧阳因.(2000).''朗文中国流行新词语''[''Langwen Chinese Neologisms''].北京：北京大学出版社 Beijing:Peking University Press&lt;br /&gt;
&lt;br /&gt;
*Wang Weidong王维东.(2011).网络热词汉译英探究[A Study of the English Translation of Chinese Online Neologisms]. 北京:''中国翻译'' Beijing: ''Chinese Translators Journal''&lt;br /&gt;
&lt;br /&gt;
*Zhang Jian &amp;amp; Tang Jianduan张健,唐见端.(1996).略谈汉语新词新义的英译[A brief Discussion on the English Translation of Chinese Neologisms].北京:''中国翻译''''Chinese Translators Journal''&lt;br /&gt;
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='''Translation of Dish Names'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On the C-E Translation of Chinese Dish Names: From a Functional Equivalence Perspective——刘洋诺Liu Yangnuo==&lt;br /&gt;
&amp;lt;center&amp;gt;刘洋诺Liu Yangnuo, 202020080621.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
&lt;br /&gt;
With increasing global influence, the task of cultural communication is a formidable project. Translation as a media plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses theoretical and practical significance of researching Chinese dish names. We summarize some point of views from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)&lt;br /&gt;
&lt;br /&gt;
With increasing global influence, the task of cultural communication is a formidable project. Translation as a medium plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses the theoretical and practical significance of researching Chinese dish names. We summarize some points of view from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Keywords ===&lt;br /&gt;
&lt;br /&gt;
Chinese-English Translation; Chinese Dish Names; Functional Equivalence&lt;br /&gt;
&lt;br /&gt;
=== 题目 ===&lt;br /&gt;
从功能对等理论浅析中式菜名的英译&lt;br /&gt;
&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
&lt;br /&gt;
中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
中译英；中国菜名；功能对等&lt;br /&gt;
&lt;br /&gt;
=== Introduction ===&lt;br /&gt;
&lt;br /&gt;
As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of dining table, dietary structure or habits, the art of dietary decorations and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From semantic linguistic point of view, there are two structure in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names.(Chu Yiyi 2017, 3-7)&lt;br /&gt;
&lt;br /&gt;
As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of a dining table, dietary structure or habits, the art of dietary decorations, and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From a semantic linguistic point of view, there are two structures in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. (Chu Yiyi 2017, 3-7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the later part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations still remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes.(Chu Yiyi 2017, 3-7)&lt;br /&gt;
&lt;br /&gt;
It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the latter part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes. (Chu Yiyi 2017, 3-7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names in order to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)&lt;br /&gt;
&lt;br /&gt;
The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review the functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
And then we summarize what we have discussed before and to point out limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from cultural aspect, cultural communication interconnects with economic and political aspect, which is one of reasons why China attaching much importance to cross-cultural communication and transmission.(Chu Yiyi 2017, 6)&lt;br /&gt;
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And then we summarize what we have discussed before and point out the limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from the cultural aspect, cultural communication interconnects with economic and political aspects, which is one of the reasons why China attaching much importance to cross-cultural communication and transmission. (Chu Yiyi 2017, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
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=== Previous Studies on the C-E Translation of Chinese Dish Names ===&lt;br /&gt;
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There are some scholars who have paved the way for our further researches. Among these researches, almost all of scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on A Bite of China, a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors and cultural elements. (Zhang Tingli 2015, 1-2)&lt;br /&gt;
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Some scholars have paved the way for further researches. Among these researches, almost all scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on ''A Bite of China'', a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors, and cultural elements.(Zhang Tingli 2015, 1-2) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
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Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarize three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Candians in food discourse from a cultural perspective, which providing a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)&lt;br /&gt;
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Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule, and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarizes three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication, and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Canadians in food discourse from a cultural perspective, which provides a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
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Similiarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp;amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration in order to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)&lt;br /&gt;
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Similarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman was published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp;amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
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They found that concrete naming deals with the tangible aspects of a dish by incorporating method of preparation, taste/aroma, appearance of dish, as well as container used. Under the guidance of their chapters, we are able to explore more in this infinite sphere. We pay tributed to great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)&lt;br /&gt;
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They found that concrete naming deals with the tangible aspects of a dish by incorporating the method of preparation, taste/aroma, the appearance of the dish, as well as container used. Under the guidance of their chapters, we can explore more in this infinite sphere. We pay tribute to the great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)&lt;br /&gt;
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=== Existing Difficulties on the C-E Translation of Chinese Dish Names ===&lt;br /&gt;
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(1) Difficulty in Transmitting Basic Information of Chinese Dish Names&lt;br /&gt;
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Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. (Mo Chuanxia &amp;amp; Yue Lin 2020,5)&lt;br /&gt;
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As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp;amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is totally different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍.(Mo Chuanxia &amp;amp; Yue Lin 2020,5)&lt;br /&gt;
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As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp;amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into a paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in a baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. (Mo Chuanxia &amp;amp; Yue Lin 2020,5)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) &lt;br /&gt;
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Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠 and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be nonessential part in translating Chinese dish names because we often are encouraged to create our own translation. But for long-term effects, chaos will lead to negative impact on economic benefits of those Chinese dishes and cross-cultural communication.(Mo Chuanxia &amp;amp; Yue Lin 2020,5)&lt;br /&gt;
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Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠, and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be a nonessential part of translating Chinese dish names because we often are encouraged to create our translation. But for long-term effects, chaos will lead to a negative impact on the economic benefits of those Chinese dishes and cross-cultural communication.  (Mo Chuanxia &amp;amp; Yue Lin 2020,5) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) &lt;br /&gt;
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Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌.  But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &amp;quot;with&amp;quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners.(Chu Yiyi 2017,13) &lt;br /&gt;
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The four words list below is a case in point: 煸, 焙, 焗 and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can applied to a large number of texts, but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)&lt;br /&gt;
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The four words list below is a case in point: 煸, 焙, 焗, and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can be applied to a large number of texts but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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After discussing cooking techniques in Chinese dish names, we will turn to the different flavor of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣 and 酥. In the second category, 孜然, 铁板, 鼓汁,  姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words are not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering mouth-watering effect. (Che Yimo 2019, 6)&lt;br /&gt;
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After discussing cooking techniques in Chinese dish names, we will turn to the different flavors of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, the word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣, and 酥. In the second category, 孜然, 铁板, 鼓汁,  姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words is not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering a mouth-watering effect. (Che Yimo 2019, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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But it's hard for target reader to get the same effect as source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent one in English such as 什锦, 八宝 and 拼盘. If we translate them into &amp;quot;all sorts of food&amp;quot;, the aesthetic effect weaken. Whereas the translation loss and gain are inevitable, underlying aesthetic effect plays an imporant role in translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹 and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life.(Che Yimo 2019, 6) &lt;br /&gt;
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But it's hard for the target reader to get the same effect as the source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent ones in English such as 什锦, 八宝, and 拼盘. If we translate them into &amp;quot;all sorts of food&amp;quot;, the aesthetic effect weaken. Whereas translation loss and gain are inevitable, the underlying aesthetic effect plays an important role in the translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹, and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life. (Che Yimo 2019, 6) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names.(Che Yimo 2019, 6)&lt;br /&gt;
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Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange-flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names. (Che Yimo 2019, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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(2) Difficulty in Considering Different Cultural Backgrounds&lt;br /&gt;
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Diffference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning lost in Western culture. Appropriate ways to deal with culture-loaded words or expression become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, signified meaning still remains in the darkness. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)&lt;br /&gt;
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The difference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning is lost in Western culture. Appropriate ways to deal with culture-loaded words or expressions become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, the signified meaning remains in the darkness. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable) . 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him with a delicious dish made by pork slices. Hu Zongxian felt satisfied with the dish and named it as &amp;quot;刀板香&amp;quot;. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)&lt;br /&gt;
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Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable). 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him to a delicious dish made of pork slices. Hu Zongxian felt satisfied with the dish and named it &amp;quot;刀板香&amp;quot;. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou).In the Qing Dynasty, there were many examinees rushing to join a ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. In order to attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of test. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &amp;quot;Kuiyuan Hall&amp;quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)&lt;br /&gt;
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片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou).  In the Qing Dynasty, many examinees were rushing to join an ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. To attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of tests. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &amp;quot;Kuiyuan Hall&amp;quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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片儿川 has specially meaning for the person who are going to test. Similarly, foreign foods invade into our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)&lt;br /&gt;
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片儿川 has special meaning for the person who is going to test. Similarly, foreign foods invade our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed a unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotation. Abstract meaning mainly derived from legends, idioms, historical events and auspicious words. When we start to translate Chinese cuisine, cultural considerations are indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)&lt;br /&gt;
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This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes, and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotations. Abstract meaning is mainly derived from legends, idioms, historical events, and auspicious words. When we start to translate Chinese cuisine, cultural considerations are an indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp;amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our mind. Whereas 龙 are often embedded with good connotation in Chinese culture such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles) and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preference between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)&lt;br /&gt;
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Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our minds. Whereas 龙 are often embedded with good connotations in Chinese cultures such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles), and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preferences between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) &lt;br /&gt;
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In addition, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former hightlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamilar with Chinese dishes. (Wu Tingting 2017, 4)&lt;br /&gt;
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Also, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former highlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse the target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamiliar with Chinese dishes. (Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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夫妻肺片 is a well-known dish mainly made by ox tongue, tripe and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humourous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory in order to discuss the application of the theory into C-E translation of Chinese dish names.(Wu Tingting 2017, 4)&lt;br /&gt;
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夫妻肺片 is a well-known dish mainly made of ox tongue, tripe, and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, the lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humorous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have a totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory to discuss the application of the theory into the C-E translation of Chinese dish names. (Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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=== Functional Equivalence Theory ===&lt;br /&gt;
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Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist and translation theorist. Functional equivalence theory focus on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &amp;quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors. (Nida 1993, 127)&lt;br /&gt;
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Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist, and translation theorist. Functional equivalence theory focuses on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &amp;quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) &lt;br /&gt;
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Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their own understanding of functional equivalence. (Nida 1993, 127)&lt;br /&gt;
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Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, how the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their understanding of functional equivalence.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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The translator recreates the text in target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations and communicative needs or to such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127) &lt;br /&gt;
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The translator recreates the text in the target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations, and communicative needs or such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp;amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of source text in target language, observing the target culture. The target language features in terms of contents, sentence structure and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating so as to transfer the flavor of source text while not violating target culture. (Nida 1993, 127)&lt;br /&gt;
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Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp;amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of the source text in the target language, observing the target culture. The target language features in terms of contents, sentence structure, and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating to transfer the flavor of the source text while not violating target culture. (Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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In Nida's view, the success of the translation depends above all on achieving equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence. (Jeremy Munday 2016, 126)&lt;br /&gt;
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In Nida's view, the success of the translation depends above all on achieving an equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and the reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence.(Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence is mainly to enable translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, of lexicon and of cultural references to be essential in order to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)&lt;br /&gt;
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Functional equivalence is mainly to enable the translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness, and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, lexicon, and cultural references to be essential to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Except for equivalence, reader's response pays an important role in functional equivalence theory. In contrast with traditional translations views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists critize Nida's functional equivalence given the impossibility of achieving functional equivalence in translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) &lt;br /&gt;
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Except for equivalence, the reader's response plays an important role in functional equivalence theory. In contrast with traditional translation views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists criticize Nida's functional equivalence given the impossibility of achieving functional equivalence in the translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence set the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)&lt;br /&gt;
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Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence sets the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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=== Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine ===&lt;br /&gt;
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4.1Princples of C-E translation of Chinese Cuisine&lt;br /&gt;
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Principles on C-E translation abound given different original texts. When it comes to C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included into the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 880)&lt;br /&gt;
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Principles on C-E translation abound given different original texts. When it comes to the C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included in the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 880)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, we translators should list three ingredients clearly in translation process. For example, in 扣三丝,some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to word-for-word translation. Various translation skills should be involved in translation process in order to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 880)&lt;br /&gt;
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Therefore, we translators should list three ingredients clearly in the translation process. For example, in 扣三丝, some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to a word-for-word translation. Various translation skills should be involved in the translation process to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 880)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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It’s noted that distinct cultural difference plays an important role in cultural communication. If a translator fails to delivery cultural connotation in a Chinese cuisine, these cultural-loaded dish names lost their attract towards foreigners. Even though native speakers are able to understand what a Chinese cuisine refers, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant, but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)&lt;br /&gt;
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It’s noted that a distinct cultural difference plays an important role in cultural communication. If a translator fails to deliver cultural connotation in Chinese cuisine, these cultural-loaded dish names lost their attraction towards foreigners. Even though native speakers can understand what Chinese cuisine refers to, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words.(Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)&lt;br /&gt;
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Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients.(Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for well-off or prosperous future. Chinese people attribute their wish of getting more money into the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds in order to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)&lt;br /&gt;
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The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for a well-off or prosperous future. Chinese people attribute their wish of getting more money to the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for a prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The most scary and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, culture taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process.(Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)&lt;br /&gt;
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Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to an internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The scariest and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, cultural taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process. (Qing Zhang &amp;amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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4.2Strategies for C-E translation of Chinese Cuisine&lt;br /&gt;
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First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients and skills should be very clear in dish names. Lexical equivalence is the main purpose of literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket. (Chu Yiyi 2017, 9)&lt;br /&gt;
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First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients, and skills should be very clear in dish names. Lexical equivalence is the main purpose of a literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of the main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket.(Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish, but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking.(Chu Yiyi 2017, 9)&lt;br /&gt;
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The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use the literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking. (Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) &lt;br /&gt;
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But with increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods and ingredients. 手抓饼(Shredded Cake) is a case in point. Opposed to forks in Western culture, Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But literal translation is not a sliver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too much ingredients or cooking procedures. If we apply to literal translation in the case, we will sacrifice simplicity in order to maintain faithfulness.(Chu Yiyi 2017, 9)&lt;br /&gt;
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But with the increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods, and ingredients. 手抓饼(Shredded Cake) is a case in point. As opposed to forks in Western culture, the Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But the literal translation is not a silver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too many ingredients or cooking procedures. If we apply to literal translation in this case, we will sacrifice simplicity to maintain faithfulness.(Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Also, some translators applied to literal translation with annotation in order to render dish names clearly. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In the case, not only can the foreigners know the basic meaning of the dish, they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In the case, the translator tried to spread local culture in a dish name.(Chu Yiyi 2017, 9)&lt;br /&gt;
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Also, some translators applied literal translation with annotation to render dish names. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In this case, not only can the foreigners know the basic meaning of the dish, but they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In this case, the translator tried to spread local culture in a dish name. (Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes in order to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly depend on Chinese pinyin such as Lanzhou, Jinhua and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)&lt;br /&gt;
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Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly dependent on Chinese pinyin such as Lanzhou, Jinhua, and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s  Pork” without any further explanations, the target  readers will get confused if they first see the translation. Thus, explanation “Dongpo, a famous poet in Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But there are few dish names originated from foreign languages. (Chu Yiyi 2017, 12)&lt;br /&gt;
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One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s  Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, the explanation “Dongpo, a famous poet in the Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is the Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But few dish names originated from foreign languages. (Chu Yiyi 2017, 12)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
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Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68) &lt;br /&gt;
&lt;br /&gt;
Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor, and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so Chinese give it a metaphorical dish name. Sauteed Vermicelli with minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give a nickname “王八” for turtle. 姬in 霸王别姬 sounds similar to 鸡(chicken).(Siwei Yue 2013, 65-68) &lt;br /&gt;
&lt;br /&gt;
The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so the Chinese give it a metaphorical dish name. Sauteed Vermicelli with Minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give the nickname “王八” for the turtle. 姬in 霸王别姬 sounds are similar to 鸡(chicken).(Siwei Yue 2013, 65-68)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in the northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white and red. The final process of making is to sprinkle on the soybean noodles, which looks like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) &lt;br /&gt;
&lt;br /&gt;
The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white, and red. The final process of making is to sprinkle on the soybean noodles, which look like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to the donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish become popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens.From strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We translators should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)&lt;br /&gt;
&lt;br /&gt;
As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually, 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish becomes popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens. From the strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We, translators, should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
&lt;br /&gt;
With the popularity of Chinese culture, there has been a resurgence of interests in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory in order to emphasize the importance of our research and try to find research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names. (Yi-Yan Lee, 2016, 10)&lt;br /&gt;
&lt;br /&gt;
With the popularity of Chinese culture, there has been a resurgence of interest in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory to emphasize the importance of our research and try to find a research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names.(Yi-Yan Lee, 2016, 10)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)&lt;br /&gt;
 &lt;br /&gt;
There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering the region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, the cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Caiqiao Huo, Xiaomei Du &amp;amp; Weichen Gu.(2020). The Metaphor and Translation of the Dish Names in Chinese Food Culture. Open Journal of Modern Linguistics (5) 423-428.&lt;br /&gt;
&lt;br /&gt;
*Jiangnan Xue. (2015). A Chinese Bite of Translation: A Translational Approach to Chineseness and Culinary Identity. Ottawa: University of Ottawa.&lt;br /&gt;
&lt;br /&gt;
*Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp;amp; Radina Mohamad Deli. (2018). Between concrete and abstract: the Malaysian Chinese way of naming dishes. International Communication of Chinese Culture (3) 247–259.&lt;br /&gt;
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*Munday J. (2016). ''Introducing Translation Studies: Theories and Applications''. New York: Routledge.&lt;br /&gt;
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*Nida, Eugene A. &amp;amp; Charles R. Taber.(1969). ''The Theory and Practice of Translation''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Nida, Eugene. A.(1993). ''Language, Culture and Translating''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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*Nord, C. (2001). ''Translating as a Purposeful Activity: Functionalists Approaches Explained''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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*Qing Zhang &amp;amp; Jiaqi Wang. (2010). Application of Functional Equivalence Theory in English Translation of Chinese Idioms. Journal of Language Teaching and Research (6) 880-888.&lt;br /&gt;
&lt;br /&gt;
*Siwei Yue. (2016). Functionalism Theory Applied in C-E Translation of Chinese Food Culture Text. Theory and Practice in Language Studies (1) 61-68.&lt;br /&gt;
&lt;br /&gt;
*Yi-Yan Lee. (2016). Imaging Identity with Food: A Study of Cultural Translation in Ang Lee's Eat Drink Man Woman and Documentary ''A Bite of China''. Hong Kong: The University of Hong Kong.&lt;br /&gt;
&lt;br /&gt;
*车宜默[Che Yimer].(2019). 跨文化交际视角下的中餐菜单英译案例研究[A case study of English translation of Chinese menus from a cross-cultural communication perspective].北京：北京外国语大学[Beijing: Beijing Foreign Studies University].&lt;br /&gt;
&lt;br /&gt;
*李玮玮[Li Weiwei]. (2017). 目的论视角下的中国菜名汉英口译实践报告[A practical report on Chinese-English interpretation of Chinese cuisine names from the perspective of purpose theory].山东：山东大学[Shangdong: Shandong University].&lt;br /&gt;
&lt;br /&gt;
*莫传霞,岳玲[Mo Chuanxia, Yue Ling].(2020).“再创作”翻译思想下的北海民俗饮食文化英译[The English translation of Beihai folk food culture under the idea of &amp;quot;re-creation&amp;quot; translation]. 广西教育学院学报[Journal of Guangxi Education College] (05) 78-81.&lt;br /&gt;
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*屠易义[Tu Yiyi].(2017). 从文化角度谈中式菜名的英译方法[The English Translation of Chinese Cuisine Names from a Cultural Perspective].上海：上海外国语大学[Shanghai:Shanghai International Studies University].&lt;br /&gt;
&lt;br /&gt;
*邬婷婷[Wu Tingting].(2017). 目的论视角下中式菜肴简介英译的翻译报告[A Translation Report on the English Translation of Chinese Cuisine Introduction from the Perspective of Purpose Theory].宁波：宁波大学[Ningbo: Ningbo University].&lt;br /&gt;
&lt;br /&gt;
*吴慧琦[Wu Huiqi]. (2020). 中西方饮食文化差异与菜名翻译——评《中西方饮食文化差异及翻译研究》[Chinese and Western food culture differences and the translation of dish names--Review of &amp;quot;Chinese and Western food culture differences and translation research&amp;quot;]. 食品工业[Food Industry] (09) 364-365.&lt;br /&gt;
&lt;br /&gt;
*张婷丽[Zhang Tingli].(2015). 目的论指导下的《舌尖上的中国》菜名英译策略[The strategy of English translation of the dish names of &amp;quot;China on the Tip of the Tongue&amp;quot; guided by purpose theory].湖南：湖南师范大学[Hunan: Hunan Normal University].&lt;br /&gt;
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==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation--Taking Hunan cuisine names an Example - 袁雨晨 Yuan Yuchen==&lt;br /&gt;
&amp;lt;center&amp;gt; 袁雨晨 Yuan Yuchen 202020080665 法语语言文学 &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Chinese food culture has attracted much attention both at home and abroad, and chinese cuisine is gradually going to global markets. Cultural differences make the translation of chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of chinese dish names from the untranslatability theory of Catford  and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.&lt;br /&gt;
&lt;br /&gt;
Chinese food culture has attracted much attention both at home and abroad, and Chinese cuisine is gradually going to global markets. Cultural differences make the translation of Chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of Chinese dish names from the untranslatability theory of Cat ford and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.&lt;br /&gt;
--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:11, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Untranslatability，loss of meaning，Hunan cuisine names&lt;br /&gt;
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===题目===&lt;br /&gt;
中国菜名的不可译性和意义的缺失——以湘菜菜名为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
中国的饮食文化在国内外备受关注，中国菜也逐渐走向世界，文化差异使得中国菜名的译法给译者带来了挑战。试以湘菜为例，从卡特福德的不可译理论和纽马克的意义缺失理论来探究湘菜菜名的翻译方法，从而在翻译过程中规避问题，达成中国菜名的相对可译性。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
不可译性；意义缺失；湘菜菜名&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities.Among cultural differences, the cuisine culture plays a very important role.(Wang Lijun 2008, 10)&lt;br /&gt;
&lt;br /&gt;
Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities. Among cultural differences, the cuisine culture plays a very important role.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:24, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names.The major concern of this paper is &amp;quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&amp;quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners. (Wang Lijun 2008, 10)&lt;br /&gt;
&lt;br /&gt;
The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names. The major concern of this paper is &amp;quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&amp;quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners.(Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
When people from different countries enjoy Chinese dishes, they are often curious and eager to know the exact meaning of the dish name and its origin. Since the dish name is the first impression given to a diner when he or she decides to order a dish. So it is important to convey accurate information to the patron. Since Chinese cuisine culture has continued to be exported overseas, translation of dish names plays an important role and is faced with a high demand determined by the complex nature of Chinese cuisine culture.(Wang Lijun 2008, 10)&lt;br /&gt;
&lt;br /&gt;
Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and fonctions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensative measures to those untranslatable dish names. (Wang Lijun 2008, 10)&lt;br /&gt;
&lt;br /&gt;
Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of Chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names. At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and functions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensatory measures to those untranslatable dish names. (Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 An Overview of Untranslatability, Loss of Meaning and Hunan Cuisine Names===&lt;br /&gt;
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====1.1 Linguistic Untranslatability and Cultural Untranslatability Put Forward by J. C. Catford====&lt;br /&gt;
Catford was the first translation theoretician who explored equivalence at different levels of language. He distinguished two kinds of untranslatability in A Linguistic Theory of Translation, that is, linguistic untranslatability and cultural untranslatability.(Catford 1965, 93)&lt;br /&gt;
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Catford thought that linguistic untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. (Catford 1965, 93)&lt;br /&gt;
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Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences, for instance, the names of some institutions, clothes, foods and dishes, abstract concepts, and the like.(Catford 1965, 93)&lt;br /&gt;
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According to Catford's view of untranslatability, the dichotomy mentioned above would not exist if it could be demonstrated that all instances of cultural untranslatability respond to &amp;quot;the impossibility of finding an equivalent collocation in the target language&amp;quot;. This impossibility is, in his opinion, a case of linguistic untranslatability.(Catford 1965, 93)&lt;br /&gt;
&lt;br /&gt;
According to Catford, &amp;quot;Translation fails---or untranslatability occurs---when it is impossible to build functionally features of the situation into the contextual meaning of the TL text.&amp;quot; (Catford 1965, 93)&lt;br /&gt;
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====1.2 Loss of Meaning Put Forward by Peter Newmark====&lt;br /&gt;
Peter Newmark analyzed the loss of meaning as follows:&lt;br /&gt;
&lt;br /&gt;
First, if the text describes a situation which has elements peculiar to the environment, institutions and culture of its language area, there is an inevitable loss of meaning, since the translator's language can only be approximate to the source language. Unless there is already a recognized translation equivalent, the translator has to choose from transcribing the foreign word, translating it, substituting a similar word in his own culture, naturalizing the word with a loan translation, sometimes adding or substituting a suffix from his own language, defining it or paraphrasing, which is sometimes added in parenthesis or as a footnote to a transliteration. (Tan Zaixi 2004, 215)&lt;br /&gt;
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Second, an inevitable source of loss is the fact that the two languages, both in their basic character and their social varieties, have many different lexical, grammatical and sound systems, and segment many physical objects and all intellectual concepts differently. (Tan Zaixi 2004, 215)&lt;br /&gt;
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Third, the individual uses of language of the writer and the translator do not coincide. Everybody has lexical if not grammatical idiosyncrasies, and attaches &amp;quot;private&amp;quot; meanings to a few words. The translator normally writes in a style that comes naturally to him, desirably with a certain elegance and sensitivity unless the text precludes it. Moreover, a good writer's use of language is often remote from some of the conventional canons of good writing, and it is the writer not the canons that the translator must respect. (Tan Zaixi 2004, 215)&lt;br /&gt;
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Last, the translator and the text-writer have different theories of meaning and different values. The translator's theory colors his interpretation of the text. He may get greater value than the text-writer on connotation and correspondingly less on denotation. He may look for symbolism where realism was intended; for several meanings where only one was intended; for different emphasis, based on his own philosophy or even his reading of the syntax. The resulting loss of meaning is inevitable and is unrelated to the obscurity or the deficiencies of the text and the incompetence of the translator, which are additional possible sources of this loss of meaning. Therefore, absolute equivalence can never be reached. A translator can't convey all the meanings of the original in his translation.(Tan Zaixi 2004, 215)&lt;br /&gt;
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====1.3 Constitution and Functions of Hunan Cuisine Names====&lt;br /&gt;
Hunan cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi areas. It is characterized by thick and pungent flavors. As a mirror of Chinese cuisine culture, dish names play an important role in transmitting Chinese cuisine culture to the whole world. Today, there are countless and various Chinese dish names, so it's so hard to translate them without a clear analysis of their constitutions and functions.&lt;br /&gt;
&lt;br /&gt;
Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape. Hunan cuisine can be cooked in a variety of ways,which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and son on; and cooking methods for cold dished, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) &lt;br /&gt;
&lt;br /&gt;
Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape and so on. Hunan cuisine can be cooked in a variety of ways， which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and so on; and cooking methods for cold dishes, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on.Most dish names are made of a combination of flavours and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names.Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.),but more often the colour and shape express the substance.For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)&lt;br /&gt;
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The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on. Most dish names are made of a combination of flavour and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names. Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.), but more often the colour and shape express the substance. For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)&lt;br /&gt;
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The utensils such as casseroles, stones pots, hanging pots, dry pots, flat pots, iron pots are used to serve the Hunan cuisine. So the names of kitchen utensils sometimes appear in Hunan cuisine names, the names of untensils and the main ingredients are combined to form the name of a dish, in order to show the characteristics of the dishes, such as “石锅玉兔”，“干锅鸡”，“砂锅熊掌”.(Zhang Qiang 2017, 19)&lt;br /&gt;
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And there are many dishes which are named by means of metaphor are connected with allusion，a person's name or a place name. The names of dishes containing the name &amp;quot;组庵&amp;quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at the time. (Zhang Qiang 2017, 19)&lt;br /&gt;
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And there are many dishes which are named by means of metaphor are connected with allusion, a person's name or a place name. The names of dishes containing the name &amp;quot;组庵&amp;quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of  Hunan cuisine at that time.  (Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)&lt;br /&gt;
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Above all, the constitution of Hunan cuisine names are various and mainly have the above mentioned features. Almost all Hunan cuisine names are characterized by elegance and try to convey a kind of aesthetic sense to diners.&lt;br /&gt;
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A dish name usually keeps people informed of the main ingredients of the dish, and sometimes uses beautiful words to add aesthetic value and finally it will stimulate the diners' appetite. Particularly, Chinese dish names have a special function that is cultural function owing to transmitting cultures.&lt;br /&gt;
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Informative Function&lt;br /&gt;
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The informative function means that the communicative aim of language is to provide people with information. As the fundamental function of Chinese dish names, it supplies the basic information of a dish, such as the ingredients, seasonings, cooking methods and so on. Chinese cooking methods are famous for its variety and the ingredients. People can get these information through most of Chinese dish names. So when Chinese dish names are translated into English, this function should be kept completely. (Wang Lixia 2017, 19)&lt;br /&gt;
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Aesthetic Function&lt;br /&gt;
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If a dish were a work of art, the dish name would be a part of the art.Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor,but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)&lt;br /&gt;
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If a dish were a work of art, the dish name would be a part of the art. Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify  the original ingredient, and the basic information of the dishes are deduce by metaphor, but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)&lt;br /&gt;
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Cultural Function&lt;br /&gt;
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Chinese dish names also function as a culture carrier. Numerous cultural words play a significant role to demonstrate the national specialties.“百鸟朝凤”, “全家福”, “龙女触珠” “桃园三结义”and many other culturally loaded terms are frequently used in dish names, which are unique to the Chinese culture. This is a best way to arouse foreigners' interests on Chinese culture.(熊力游 2004, 84)&lt;br /&gt;
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===Chapter 2 Reasons for the Untranslatability and Loss of Meaning in Chinese Dish Names===&lt;br /&gt;
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====2.1 Differences of Thinking====&lt;br /&gt;
There is a fundamental difference between the traditional Chinese concept of &amp;quot;unity of human and nature&amp;quot; and the traditional Western concept of &amp;quot;humanism&amp;quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on Qi and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonisation of the five tastes. (Cao Binbin 2016, 23)&lt;br /&gt;
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There is a fundamental difference between the traditional Chinese concept of &amp;quot;unity of human and nature&amp;quot; and the traditional Western concept of &amp;quot;humanism&amp;quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on “Qi” and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonization of the five tastes. (Cao Binbin 2016, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)&lt;br /&gt;
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Westerners hold a rational and scientific concept of diet. They emphasise the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)&lt;br /&gt;
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Westerners hold a rational and scientific concept of diet. They emphasize the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Different Beliefs and Values====&lt;br /&gt;
Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”，“谋事在人，成事在天”.These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &amp;quot;man proposes God disposes&amp;quot;; &amp;quot;God help those who help themselves&amp;quot; are typical examples. But if“谋事在人，成事在天”is translated to &amp;quot;man proposes, God disposes&amp;quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)&lt;br /&gt;
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Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”， “谋事在人，成事在天”. These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &amp;quot;man proposes God disposes&amp;quot;; &amp;quot;God help those who help themselves&amp;quot; are typical examples. But if“谋事在人，成事在天” is translated to &amp;quot;man proposes, God disposes&amp;quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)&lt;br /&gt;
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The value of a certain culture is a set of behavioral standards for people to make choices and solve conflicts and it is usually displayed in people's philosophic and moral concept. The concept that is thought highly by one nation may be neglected by another nation. And this phenomenon becomes a great  obstacle  in  the  cross-cultural  communication  and  translation. &lt;br /&gt;
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As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &amp;quot;dog&amp;quot; for example, Chinese often use them to guard door. In their concepts, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”.Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &amp;quot;love me, love my dog&amp;quot;, &amp;quot;lucky dog&amp;quot; and &amp;quot;every dog has his day&amp;quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had  better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)&lt;br /&gt;
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As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &amp;quot;dog&amp;quot; for example, Chinese often use them to guard door. In their conceptions, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”. Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &amp;quot;love me, love my dog&amp;quot;, &amp;quot;lucky dog&amp;quot; and &amp;quot;every dog has his day&amp;quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had  better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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When translating, it is important to take into account the cultural differences, accepting psychology and eating habits of foreigners, otherwise it will be difficult to achieve the intended function and purpose of the translation. After all, although the translator &amp;quot;deals with individual words, he is dealing with two major cultures&amp;quot;.(Liu Chuang 2012, 120)&lt;br /&gt;
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====2.3 Different Customs and Living Environment====&lt;br /&gt;
Custom refers to the way of living formed in the long-term development of human's history. It is embodied in various aspects of people's daily lives such as garment, etiquette, marriage, funeral, traditional dishes and so on, due to the different living habits and the customs of different people, which constitute a great obstacle in the cross-cultural communication and translation.(Wang Lijun 2017, 23)&lt;br /&gt;
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====2.4 Lexical Non-equivalence Concerned with Cultural Difference====&lt;br /&gt;
The lexical non-equivalence generally refers to the non-equivalence of lexical meanings. As we all know, the meaning of a word, which is involved in many aspects, such as the denotative meaning, the associative meaning and so on, is not a simple concept. Therefore, there are several kinds of untranslatable phenomena concerned with the lexical non-equivalence.(Wang Lijun 2017, 24)&lt;br /&gt;
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====2.5 Absence of Terms====&lt;br /&gt;
Absence of terms is a frequent phenomenon leading to untranslatability. It refers to the case that in translation we fail to find counterpart in target language. In Chinese, there are many terms as “风水”, “阴阳”,  “属相”and so on. These words are derived from unique Chinese culture, which are almost impossible to translate to English, since there are no such things in western countries.(Wang Lijun 2017, 24)&lt;br /&gt;
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====2.6 Discrepancy of Semantic Association====&lt;br /&gt;
Terms and expressions, as embodiment of culture, have rich meanings and profound connotations.  Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙“ in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙“ is something sacred and has been referred to as the ancestor of the Chinese nation-that's why Chinese people call themselves“龙的传人 (descendants of the dragon)“. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”，“二龙戏珠”and “青龙过海”.To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)&lt;br /&gt;
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Terms and expressions, as embodiment of culture, have a wide variety of meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙” in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙” is something sacred and has been referred to as the ancestor of the Chinese nation—that's why Chinese people call themselves “龙的传人 (descendants of the dragon)”. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”， “二龙戏珠”and “青龙过海”. To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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Take “喜鹊(pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name(喜)means &amp;quot;happiness&amp;quot;. So the chattering of a pied magpie had the connotative meaning of &amp;quot;good news is coming&amp;quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &amp;quot;a chatterbox&amp;quot;.  (Wang Lijun 2017, 28)&lt;br /&gt;
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Take “喜鹊 (pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name “喜” means &amp;quot;happiness&amp;quot;. So the chattering of a pied magpie had the connotative meaning of  &amp;quot;good news is coming&amp;quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &amp;quot;a chatterbox&amp;quot;.(Wang Lijun 2017, 28)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 3 Strategies of Untranslatability and Loss of Meaning of Hunan Cuisine Names===&lt;br /&gt;
The purpose of translation is to communicate, therefore transfering the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc., so that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan.  (Wang Caiying 2009, 108)&lt;br /&gt;
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The purpose of translation is to communicate, therefore transferring the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc. So that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of  Hunan cuisine, and appreciate the colourful culinary culture of  Hunan.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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Some contain profound historical allusions or folk legends, while others have changed their names based on raw materials, shapes and cooking methods. This makes English translation difficult and makes it difficult to fully reflect the linguistic and cultural features of the Chinese language. In this case, the English translation of Hunan cuisine names should be purpose-oriented, so that foreign friends can understand as much as possible about the basic information of Hunan cuisine. The name of the dish should first of all ensure that the customer knows the ingredients，the supplementary ingredients, the cooking method and the flavour of the dish, so the most important thing when translating the name of a dish, whether it is realistic or associative, is that it should firstly convey its denotative meaning. (Wang Caiying 2009, 108)&lt;br /&gt;
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In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish.The names of some dishes are quoted from poems and idioms, and the English translation method of &amp;quot;literal+interpretative translation&amp;quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &amp;quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&amp;quot;, etc., make the translation more effective.(Wang Caiying 2009, 108)&lt;br /&gt;
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In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish. The names of some dishes are quoted from poems and idioms, and the English translation method of &amp;quot;literal+interpretative translation&amp;quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &amp;quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&amp;quot;, make the translation more effective.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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====3.1 English Translations of Hunan Cuisine Names Based on Cooking Methods and Main Ingredient====&lt;br /&gt;
The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&amp;quot;, where &amp;quot;炒&amp;quot; is the practice. &amp;quot;生菜&amp;quot; is the main ingredient, which translates as Sauteed Lettuce &amp;quot; and “花生炖猪蹄&amp;quot;，where“炖&amp;quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as“cooking method+main ingredient+and+main ingredient”,that‘s “Stewed Pig's Trotters and Peanuts&amp;quot;.(Zhang Qiang 2017, 23)&lt;br /&gt;
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The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&amp;quot;, where &amp;quot;炒&amp;quot; is the practice. &amp;quot;生菜&amp;quot; is the main ingredient, which translates as Sauteed Lettuce &amp;quot; and “花生炖猪蹄&amp;quot;，where“炖&amp;quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as “cooking method+main ingredient+and+main ingredient”, which calls “ Stewed Pig's Trotters and Peanuts&amp;quot;.(Zhang Qiang 2017, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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====3.2 English Translation of Hunan Cuisine Names Based on &amp;quot;Ingredient and Main Ingredient&amp;quot; or &amp;quot;Main ingredient and Soup&amp;quot;====&lt;br /&gt;
The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &amp;quot;ingredient+main ingredient&amp;quot;, which can be translated in English as &amp;quot;main ingredient+with/in+ingredients&amp;quot;. Connected by with or in. e.g.&amp;quot;冬笋腊肉&amp;quot; and &amp;quot;蟹黄海参&amp;quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &amp;quot;soup+main ingredient&amp;quot;, which is translated as &amp;quot;main ingredient+in/with+ Soup/Sauce&amp;quot;. Yhe choice of in or with is determined by the actual &amp;quot;sauce&amp;quot;. Use &amp;quot;in&amp;quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with” e.g. &amp;quot;蜜汁白莲&amp;quot; is translated as &amp;quot;Lotus-seed in Honey Sauce&amp;quot;and &amp;quot;茄汁鱼片&amp;quot; is translated as &amp;quot;Sliced Fish with Tomato Sauce &amp;quot;.(Zhang Qiang 2017, 24)&lt;br /&gt;
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The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &amp;quot;ingredient+main ingredient&amp;quot;, which can be translated in English as &amp;quot;main ingredient+with/in+ingredients&amp;quot;. Connected by “with or in”, for example, &amp;quot;冬笋腊肉&amp;quot; and &amp;quot;蟹黄海参&amp;quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &amp;quot;soup+main ingredient&amp;quot;, which is translated as &amp;quot;main ingredient+in/with+ Soup/Sauce&amp;quot;. The choice of in or with is determined by the actual &amp;quot;sauce&amp;quot;. Use &amp;quot;in&amp;quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with”, for example, &amp;quot;蜜汁白莲&amp;quot; is translated as &amp;quot;Lotus-seed in Honey Sauce&amp;quot;and &amp;quot;茄汁鱼片&amp;quot; is translated as &amp;quot;Sliced Fish with Tomato Sauce &amp;quot;.(Zhang Qiang 2017, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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====3.3 English Translation of Hunan Cuisine Names According to the Flavour and the Main Ingredients====&lt;br /&gt;
When the name of a dish is &amp;quot;flavour+main ingredient&amp;quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, e.g. in &amp;quot;麻辣牛肉&amp;quot;, &amp;quot;麻辣&amp;quot; is the taste. &amp;quot;牛肉&amp;quot; is the main ingredient, which translates as &amp;quot;Spicy and Hot Beef&amp;quot;and &amp;quot;酸辣&amp;quot; in &amp;quot;酸辣鸡杂&amp;quot; is the flavour, &amp;quot;鸡杂&amp;quot; is the main ingredient and it can be translated as &amp;quot;Hot and Sour Chicken Giblets&amp;quot;.(Zhang Qiang 2017, 26)&lt;br /&gt;
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When the name of a dish is &amp;quot;flavour+main ingredient&amp;quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, for example, in &amp;quot;麻辣牛肉&amp;quot;, &amp;quot;麻辣&amp;quot; is the taste. &amp;quot;牛肉&amp;quot; is the main ingredient, which translates as &amp;quot;Spicy and Hot Beef&amp;quot;and &amp;quot;酸辣&amp;quot; in &amp;quot;酸辣鸡杂&amp;quot; is the flavour, &amp;quot;鸡杂&amp;quot; is the main ingredient and it can be translated as &amp;quot;Hot and Sour Chicken Giblets&amp;quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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====3.4 English Translation of Hunan Cuisine Names Based on Seasonings and Main Ingredients====&lt;br /&gt;
The English translation of Hunan cuisine name in the form of &amp;quot;seasoning+main ingredient&amp;quot; can use the structure of &amp;quot;main ingredient+with+seasoning&amp;quot;, such as &amp;quot;芥末鸡条&amp;quot; can be translated as “Chicken Strips with Mustard”, a literal translation can also be used in the original structure, such as “孜然牛肉” can be translated as &amp;quot;Cumin Beef&amp;quot;.(Wang Lijun 2017, 23)&lt;br /&gt;
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====3.5 English Translation of Hunan Cuisine Names Based on Seasonings, Cooking Methods and Main Ingredients====&lt;br /&gt;
Chinese Hunan cuisine names has the structure of &amp;quot;seasoning+cooking method+main ingredient&amp;quot;, which can be translated in English as &amp;quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&amp;quot;, e.g. &amp;quot;豆瓣酱烧肥鱼&amp;quot; can be translated as &amp;quot;Braised Fish with Thick Broad-bean Sauce&amp;quot; and &amp;quot;豆豉蒸排骨&amp;quot; as &amp;quot;Steamed Pork Chops with Lobster Sauce&amp;quot;.(Zhang Qiang 2017, 26)&lt;br /&gt;
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Chinese Hunan cuisine names has the structure of &amp;quot;seasoning+cooking method+main ingredient&amp;quot;, which can be translated in English as &amp;quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&amp;quot;, for example, &amp;quot;豆瓣酱烧肥鱼&amp;quot; can be translated as &amp;quot;Braised Fish with Thick Broad-bean Sauce&amp;quot; and &amp;quot;豆豉蒸排骨&amp;quot; as &amp;quot;Steamed Pork Chops with Lobster Sauce&amp;quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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====3.6 English Translation of Hunan Cuisine Names According to the Colour and Shape of the Finished Dish====&lt;br /&gt;
The names of such dishes are generally translated using the literal and free translation method. For example, &amp;quot;芙蓉鸡片&amp;quot; can be translated as &amp;quot;Fried Sliced Chicken with Egg White&amp;quot; and &amp;quot;菊花鱿鱼&amp;quot;as &amp;quot;Fried Chrysanthemum-shaped Squid&amp;quot;.(Wang Lijun 2017, 23)&lt;br /&gt;
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====3.7 English Translation of Hunan Cuisine Names According to the Flavour and the Shape of the Raw Material after it has been cut====&lt;br /&gt;
The English translation of Hunan cuisine names can be in the form of &amp;quot;flavour+shape+main ingredient&amp;quot;, e.g. &amp;quot;麻辣&amp;quot; in &amp;quot;麻辣羊肚丝&amp;quot; denotes the flavour. &amp;quot;羊肚&amp;quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &amp;quot;Spicy and Hot shredded Goat Tripe&amp;quot;.  (Zhang Qiang 2017, 29)&lt;br /&gt;
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The English translation of Hunan cuisine names can be in the form of &amp;quot;flavour+shape+main ingredient&amp;quot;, for example, &amp;quot;麻辣&amp;quot; in &amp;quot;麻辣羊肚丝&amp;quot; denotes the flavour. &amp;quot;羊肚&amp;quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &amp;quot;Spicy and Hot shredded Goat Tripe&amp;quot;. (Zhang Qiang 2017, 29)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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====3.8 English Translation of Hunan Cuisine Name According to the Cooking Method and the Main Ingredient and its modified Shape====&lt;br /&gt;
Chinese Hunan cuisine names &amp;quot;--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)cooking method+main ingredient+shape&amp;quot; can be translated as &amp;quot;cooking method (past participle of the verb)+shape+main ingredient&amp;quot;, such as &amp;quot;干煸牛肉丝&amp;quot;. &amp;quot;干煸&amp;quot; is the cooking method, &amp;quot;牛肉&amp;quot; is the main ingredient and &amp;quot;丝&amp;quot; is the shape of the modified ingredient, it can be translated as &amp;quot;Dry-fried Shredded Beef&amp;quot;.(Zhang Qiang 2017, 29)&lt;br /&gt;
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====3.9 English Translations of Hunan Cuisine Names from &amp;quot;Name of Person or Place + Main Ingredient&amp;quot; to &amp;quot;Name of Person or Place+Cooking Method + Main Ingredient&amp;quot;====&lt;br /&gt;
In addition to the above principles, the names of such dishes should also be transliterated from the names of people and places, which is good for promoting the Chinese language and culture. The translation of Hunan cuisine names as &amp;quot;person's name+main ingredient&amp;quot; can be made directly. For example, in &amp;quot;组庵豆腐&amp;quot;, &amp;quot;组庵&amp;quot; is the name of a person and &amp;quot;豆腐&amp;quot; is the main ingredient, which is transliterated as &amp;quot;Zu'an Tofuo&amp;quot;.(Zhang Qiang 2017, 26)&lt;br /&gt;
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The name of the dish &amp;quot;place name+main ingredient&amp;quot; can be translated as &amp;quot;main ingredient+，+place name+Style&amp;quot; with the main ingredient separated from the place name by a comma. For example, &amp;quot;湖南&amp;quot; in &amp;quot;湖南腊肉&amp;quot; is the name of the place, and &amp;quot;腊肉&amp;quot; is the main ingredient, which is translated as &amp;quot; Preserved Pork (Smoked Pork), Hunan Style&amp;quot;, the name of a Hunan dish in the form of &amp;quot;place name+main ingredient&amp;quot; can also be translated into the form of &amp;quot;place name+main ingredient&amp;quot;, e.g. &amp;quot;东安鸡&amp;quot; can be translated as &amp;quot;Dong' an Chicken&amp;quot;.(Zhang Qiang 2017, 26)&lt;br /&gt;
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The name of the dish &amp;quot;place name+main ingredient&amp;quot; can be translated as &amp;quot;main ingredient+place name+Style&amp;quot; with the main ingredient separated from the place name by a comma. For example, &amp;quot;湖南&amp;quot; in &amp;quot;湖南腊肉&amp;quot; is the name of the place, and &amp;quot;腊肉&amp;quot; is the main ingredient, which is translated as &amp;quot; Preserved Pork (Smoked Pork), Hunan Style&amp;quot;, the name of a Hunan dish in the form of &amp;quot;place name+main ingredient&amp;quot; can also be translated into the form of &amp;quot;place name+main ingredient&amp;quot;, for example, &amp;quot;东安鸡&amp;quot; can be translated as &amp;quot;Dong' an Chicken&amp;quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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The name of a dish can be translated in the form of &amp;quot;cooking method+main ingredient+，+person (place name)+style&amp;quot;, e.g. &amp;quot;毛氏红烧肉&amp;quot;, which can be translated as &amp;quot;Braised Pork, Mao's Family Style. &amp;quot;(Zhang Qiang 2017, 30)&lt;br /&gt;
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====3.10 An English Translation of Hunan Cuisine Names as &amp;quot;Utensil + Main Ingredient&amp;quot;====&lt;br /&gt;
Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, e.g. “铁板牛肉”can be translated as Beef Steak Served on Sizzling Iron Plate.(Zhang Qiang 2017, 30) &lt;br /&gt;
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Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the Chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, for example, “铁板牛肉”can be translated as “Beef Steak Served on Sizzling Iron Plate”.(Zhang Qiang 2017, 30)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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====3.11 The English Translation of Hunan Cuisine Names that Do Not Reflect Information on Cooking Methods, Main Ingredients, Tastes, etc.====&lt;br /&gt;
Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as Quan Jia Fu (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion) (Zhang Qiang 2017, 31)&lt;br /&gt;
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Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as “Quan Jia Fu” (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion.)(Zhang Qiang 2017, 31)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Chinese dish names are rich in connotation, vividly reflecting China's cuisine culture. Their English translations are an effective means to inform foreigners of Chinese culture. Therefore, it is of great importance to make a study on translations of these dish names. The current studies in this field have given an analysis to Chinese dish names' features, functions as well as the principles for their translation. (Wang Lijun 2017, 23)&lt;br /&gt;
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This paper has made a tentative study of Chinese dish names from the angle of untranslatability and loss of meaning. The study covers the analysis of the untranslatability and loss of meaning caused by the differences between Chinese and English, from linguistic and cultural perspectives, taking Hunan cuisine names an example, the introduction of the constitution and function of dish names. Then since Chinese dish names play an important role in Chinese culture, according to untranslatabiltiy caused by culture differences between Chinese and English, the paper analyzes the untranslatable phenomena existing in the English translation of Chinese dish names from the aspects of thinking, beliefs and values, customs, and lexical non-equivalence.(Zhang Qiang 2017, 26) &lt;br /&gt;
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Although there are many translated versions of various Chinese dishes nowadays, and some of them have been accepted by the public, it is undeniable that there are cultural obstacles which cannot be translated. If translators don't know untranslatabiltiy of dish names, they cannot translate them properly, since they couldn't avoid the obstacles and adopt some compensatory measures. strangeness in front of cultural differences.&lt;br /&gt;
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A translation should on the one hand keep as much as possible the original flavor and on the other hand try to make it accessible to the target language readers.&lt;br /&gt;
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===References===&lt;br /&gt;
[1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square].24-25.&lt;br /&gt;
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[1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square]24-25.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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[2]J. C. Catford. (1965). A Linguistic Theory of Translation . London: Oxford University.93-95&lt;br /&gt;
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[3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English].120-121.&lt;br /&gt;
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[3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English]120-121.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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[4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press] 200-220&lt;br /&gt;
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[4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press]200-220.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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[5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]. 108-109.&lt;br /&gt;
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[5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]108-109.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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[6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]. 10-13&lt;br /&gt;
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[6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]10-13.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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[7]Wang Lixia. 王丽霞.(2017).《湘菜六味—湘菜缘分》汉译英实践报告.[A Report on the C-E Translation of the 3rd Chapter of Xiangcailiuwei].湖南师范大学.[Hunan Normal University]&lt;br /&gt;
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[8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]. 84-86.&lt;br /&gt;
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[8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]84-86.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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[9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]. 18-33&lt;br /&gt;
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[9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]18-33.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)&lt;br /&gt;
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==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan cuisine an Example - 邬香 Wu Xiang==&lt;br /&gt;
&amp;lt;center&amp;gt; 邬香 Wu Xiang 202020080651.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication this chapter takes the English translation of Hunan cuisine as an example and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchange and dissemination.&lt;br /&gt;
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As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication, this chapter takes the English translation of Hunan cuisine as an example and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of Chinese dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchange and  transmission.--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 08:14, 17 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
Chinese dish names; English translation; domestication and foreignization; cross-cultural communication&lt;br /&gt;
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===题目===&lt;br /&gt;
异化和归化视角下中国菜名英译研究——以湘菜为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译中出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用不同的翻译策略。尽管归化和异化不能清除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国菜名；英译；归化和异化；跨文化交流&lt;br /&gt;
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===Introduction===&lt;br /&gt;
After thousands of years of precipitation and inheritance Chinese food culture has emerged on the international stage and gradually gained the favor and recognition of foreigners. In today's society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape, we have different translation versions in the process of translating Chinese dishes. This is not conducive to the spread of Chinese culture. It’s known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritage, so it is suitable to adopt domestication and foreignization in English translation. Many Chinese scholars focus on specific translation methods and skills in the research on translation of Chinese dish names.They rarely consider the translation strategies of foreignization and domestication. However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies . Therefore,in this chapter I will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan dishes. (Xiong Bing 2014,84)&lt;br /&gt;
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中国饮食文化历经数千年的沉淀和传承后，在国际舞台上崭露头角，逐渐得到外国人的青睐和认可。当今社会世界各国、各民族文化交流日益频繁，翻译作为一种跨文化交际活动，不仅指语言转换的过程，而且是文化转换和传播的过程。归化和异化策略能最大程度保留原文中的文化元素，解决目前中国菜名翻译过程中存在的一些问题。湘菜作为中国八大菜系之一，具有独特的特点和丰富的文化底蕴，适合采用归化和异化英译。中国许多学者对中国菜名翻译的研究多着眼于具体的翻译方法和技巧，很少从异化和归化的翻译策略高度来考虑。然而首先明确采用怎样的翻译策略，继而才能选用合适的翻译方法和技巧，因为前者的实施体现在特定翻译技巧的运用，同时后者的运用需依据一定的翻译策略。因此，本文将以湘菜菜品名为语料，探讨翻译策略在传统中国菜名英译中的运用。(熊兵，2014,84）&lt;br /&gt;
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After thousands of years of precipitation and inheritance, Chinese food culture has emerged on the international stage and has gradually gained the favor and recognition of foreigners. Nowadays cultural exchanges among countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and transmission. Domestication and foreignization strategies can preserve the cultural elements of the original text to the greatest extent and solve some problems existing in the translation of Chinese dish names. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural background, so it is suitable to adopt domestication and foreignization in English translation. Many Chinese scholars focus on specific translation methods and skills in the research on translation of Chinese dish names.They rarely consider the translation from the perspective of domestication and foreignization. However,it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the expression of the former is reflected in the application of specific translation skills, and the application of the latter needs to be based on certain translation strategies. Therefore, this paper will discuss the application of translation strategies domestication and foreignization in the translation of traditional Chinese dishes using the name of Hunan cuisine as the corpus based on the corpus of Hunan dishes. (Xiong Bing 2014,84)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:27, 18 December 2020 (UTC)&lt;br /&gt;
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===1. Exiting Problems in English Translation of Chinese Dish Names===&lt;br /&gt;
Chinese food culture is extensive and profound. It has a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in the English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards and the ignorance of the cultural connotation of dishes. These problems make foreigners and some domestic English learners confused. Next I will analyze them in detail with examples.(Xia Ying 2016, 259)&lt;br /&gt;
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Chinese food culture is extensive and profound with long history. The importance of English translation of Chinese dish names in cross-cultural communications among China and foreign countries is self-evident. However, there are many problems in the English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards and the ignorance of the cultural connotation of dishes. These problems make foreigners and some domestic English learners confused. Below I will analyze them in detail with examples.(Xia Ying 2016, 259)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 13:52, 18 December 2020 (UTC)&lt;br /&gt;
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中国饮食文化博大精深，源远流长。中餐翻译在中外文化交流中的重要性不言而喻。然而，目前中国菜名英译存在不少问题，诸如使用直接生硬表达法、缺乏统一翻译标准、忽视菜肴文化内涵等。这些问题不仅引起外国人的困惑，国内英语学习者亦云里雾里。下面我将结合实例具体分析。(夏瑛 2016, 259)&lt;br /&gt;
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====1.1 The Use of Direct and Rigid Expressions====&lt;br /&gt;
China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can‘t express the rich connotations of these dishes and even make people funny. For example, if &amp;quot;Jiaohua chicken, a whole chicken roasted in caked mud&amp;quot;(叫花鸡) is translated into &amp;quot;beggar's chicken&amp;quot;(叫花子的鸡), it does not reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, it knocked off the mud shell, and the aroma overflowed. It became a delicious dish. Another example is that &amp;quot;木须肉&amp;quot; is translated as &amp;quot;wood mustache meat&amp;quot;（木头胡子肉）. This translation is confusing and does not reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &amp;quot;stir fried pork with eggs and black fugus&amp;quot;. (Zhang Yang 2016, 48)&lt;br /&gt;
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China has a vast territory and abundant resources. The eating habits and cooking methods vary from region to region. Some dishes are named after myths, legends and allusions, others are complex in cooking methods and various in ingredients. Direct and stiff expressions can’t express the rich connotations of these dishes and even make people laugh. For example, if &amp;quot;Jiaohua chicken, a whole chicken roasted in caked mud&amp;quot;(叫花鸡) is translated into &amp;quot;beggar's chicken&amp;quot;(叫花子的鸡), it doesn’t reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. But he didn’t have cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, it knocked off the mud shell, and the aroma overflowed. It became a delicious dish. Another example is that &amp;quot;木须肉&amp;quot; is translated as &amp;quot;wood mustache meat&amp;quot;（木头胡子肉）. This translation is confusing and doesn’t reflect the main ingredients of this dish. I think that it is more appropriate and reasonable to translate it into &amp;quot;stir fried pork with eggs and black fugus&amp;quot;. (Zhang Yang 2016, 48)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 13:52, 18 December 2020 (UTC)&lt;br /&gt;
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中国地大物博，全国各地区的饮食习惯与烹饪方法各不相同，其中一些菜肴以神话、传说及典故命名，还有一些佳肴烹饪方法复杂，食材多种多样。直接生硬的表达法不能很好表达这些菜肴的丰富内涵，甚至会让人啼笑皆非。比如，”叫花鸡”(Jiaohua Chicken，a whole chicken roasted in caked mud)若译成”Beggar’s Chicken”则完全没有体现这道菜的由来及做法。相传明末清初时，常熟一个乞丐偶然间得到一只鸡，苦于没有炊具和调料，只能将鸡处理后放入泥土中煨烤，鸡熟后敲掉泥壳，香气四溢，成为一道美味佳肴。又如，“木须肉”被译为”Wood mustache meat”（木头胡子肉），这种译法让人不知所云，更没有体现这道菜的主要原料。笔者认为将其译为”Stir-fried pork with eggs and black fungus”比较恰当合理。(张扬 2016, 48)&lt;br /&gt;
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====1.2 The Lack of Unified Translation Standards====&lt;br /&gt;
At present there is no uniform international standard for the translation of Chinese dish nayanmes, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and seriously affects the spread of Chinese catering culture. For example, there are several different translation versions of &amp;quot;麻婆豆腐&amp;quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &amp;quot;Mapo Tofu&amp;quot; and have already accepted it, so it is acceptable not to explain it. The first translation is to make people salivate. It reflects the method and raw materials of this dish. There are also many ways to translate &amp;quot;宫保鸡丁&amp;quot;, including &amp;quot;Kung Pao chicken&amp;quot;, &amp;quot;fried diced chicken in Sichuan style&amp;quot; or &amp;quot;sauteed chicken cubes with chili and peanuts&amp;quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotation of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture. (Lin Hong 1991, 41)&lt;br /&gt;
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At present there is no uniform international standard for the translation of Chinese dish names, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and seriously affects the spread of Chinese food culture. For example, there are several different translation versions of &amp;quot;麻婆豆腐&amp;quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; Tofu made by woman with freckles. The last translation is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &amp;quot;Mapo Tofu&amp;quot; and have already accepted it, so no explanation can also be. The first translation is more vivid and make people salivate. It reflects the method and raw materials of this dish. There are also many ways to translate &amp;quot;宫保鸡丁&amp;quot;, including &amp;quot;Kung Pao chicken&amp;quot;, &amp;quot;fried diced chicken in Sichuan style&amp;quot; or &amp;quot;sauteed chicken cubes with chili and peanuts&amp;quot;. So many translation versions not only make readers confused, but also fail to reflect the characteristics and cultural connotation of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese food culture. (Lin Hong 1991, 41)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 13:52, 18 December 2020 (UTC)&lt;br /&gt;
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目前，国际上没有关于中国菜名翻译的统一的标准，这导致在图书市场和餐厅内出现多个翻译版本，给外国人就餐带来不便与麻烦，严重影响了中国饮食文化的传播。例如，国内“麻婆豆腐”有以下几种不同的翻译：Bean curd with minced pork in hot sauce; Mapo tofu; Tofu made by woman with freckles.笔者认为，最后一种译法不是很贴切，容易引起反感。外国人已熟知并接受”Mapo tofu”的译法，故不解释亦可。第一种译法较为形象，体现了菜肴的做法和原料，让人垂涎欲滴。“宫保鸡丁”五花八门的译法包括”Kung Pao Chicken”, “Fried diced chicken in Sichuan style” 或”Sautéed chicken cubes with chili and peanuts”. 如此多的译名不仅会引起读者思维上的混乱，而且没有很好地体现中国菜名的特点与文化内涵。由此可见，统一菜名的翻译是正确领略中国饮食文化亟待解决的问题之一。 (林红 1991, 41)&lt;br /&gt;
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====1.3 The Neglect of Cultural Connotations of Dishes====&lt;br /&gt;
The differences between Chinese and Western cultures lead to the differences between Chinese and Western catering cultures, which in the final analysis stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. For example, onion soup in French style(法式洋葱汤) is used in Western food, while &amp;quot;stewed snake and chicken&amp;quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, and there is a folk saying that pheasant flies on the branch and becomes a phoenix(野鸡飞上枝头变凤凰). Therefore, the snake is compared to the dragon, and the chicken to the Phoenix, which is used to bless and praise things and others. The main ingredient of &amp;quot;more than every year&amp;quot;(年年有余) is fish. &amp;quot;Yu&amp;quot;(余) in Chinese refers to surplus, which is homophonic with &amp;quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners do not understand the Chinese culture implied in these dishes, they will find this kind of translation very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding. (Wang Junjian 2017，107)&lt;br /&gt;
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The differences between Chinese and Western cultures lead to the differences between Chinese and Western food cultures, which stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. For example, onion soup in French style(法式洋葱汤) is used in Western food, while &amp;quot;stewed snake and chicken&amp;quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, there is a folk saying that pheasant flies on the branch and becomes a phoenix(野鸡飞上枝头变凤凰). Therefore, the snake is compared to the dragon, and the chicken to the phoenix, which is used to bless and praise things and others. The main ingredient of &amp;quot;more than every year&amp;quot;(年年有余) is fish. &amp;quot;Yu&amp;quot;(余) in Chinese refers to surplus, which is homophonic with &amp;quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners don’t understand the Chinese culture implied in these dishes, they will find this kind of translation very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding.(Wang Junjian 2017，107)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 13:52, 18 December 2020 (UTC)&lt;br /&gt;
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中西文化的差异导致中西饮食文化的不同，而这种差异归根结底源于双方对待理性和感性的不同态度。中国人感性思维较强，故而追求美和艺术性，中餐讲究色香味俱全，通常含有祝福、美好等文化内涵。西方人则更注重理性、真理和科学，西餐菜名通俗易懂，原料和营养成分较为清楚。比如，西餐中的Onion soup in French style(法式洋葱汤),而中餐中的”龙凤呈祥”（Stewed snake and chicken）是用蛇和鸡炖的汤。蛇在中国视为小龙（蛟），且民间有“野鸡飞上枝头变凤凰”的俗语。故把蛇比作龙，鸡比作凤凰，用作对事物和他人的祝福和赞美。”年年有余”（More than every year）的主要食材是鱼，“余”在汉语中指剩余，与“鱼”谐音，表达人们对家业发达、年年有余的美好愿望。如果外国人不了解这些菜隐含的中国文化，则会觉得这种翻译很奇怪。因此，在翻译中国菜名时必须考虑文化因素，避免造成误解。(王君健 2017,107)&lt;br /&gt;
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To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignore the cultural connotations of dish names, and use inappropriate translation methods. I will try to solve these problems by adopting translation strategies of domestication and foreignization from the linguistic and cultural levels. Next, I will introduce the two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English. (Xia Ying 2016, 259+273)&lt;br /&gt;
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To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignoring the cultural background contained in dish names, and using inappropriate translation methods. The paper tries to solve these problems by adopting  domestication and foreignization from the linguistic and cultural levels, then  introduces the two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English. (Xia Ying 2016, 259+273)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 13:52, 18 December 2020 (UTC)&lt;br /&gt;
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以上问题很大程度上是因为人们在翻译过程中注重直观的感受，忽略菜名蕴含的文化底蕴，使用不恰当的翻译方法造成的。笔者试图从语言和文化层面采用归化和异化翻译策略来解决这些问题。接下来将介绍着这两种翻译策略并分析在湘菜英译过程中如何运用它们来提高翻译质量。(夏瑛 2016, 259+273)&lt;br /&gt;
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===2. Translation Strategies of Domestication and Foreignization ===&lt;br /&gt;
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====2.1 Definitions of Domestication and Foreignization====&lt;br /&gt;
Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book Translator's Invisibility according to the theory of German philosopher Schleiermacher. (Wang Shaofei 2006,30) Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination, and adopts the expressions that the readers are used to convey the content of the original text. It can help readers better understand the translation and enhance its readability and appreciation. Foreignization in the process of translation considers the linguistic characteristics of foreign cultures, absorbs foreign language expressions. It requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text. It means that we should take the source culture as the destination. The purpose of using foreignization is to consider the differences of national cultures, preserve and reflect characteristics of foreign cultures and their language styles, and to retain the exotic sentiment for the target readers.（Su Songlonghua 2011）&lt;br /&gt;
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Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book “Translator's Invisibility” according to the theory of German philosopher Schleiermacher. (Wang Shaofei 2006,30) Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination, and adopts the expression that the readers are used to convey the content of the original text. Domestication requires the translator to approach the target language readers. It can help readers better understand the translation and enhance its readability and appreciation of translation. Foreignization in the process of translation considers the language characteristics of foreign cultures, absorbs foreign language expressions, requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text. The purpose of using foreignization is to consider the difference of national cultures, to preserve and reflect the characteristics of foreign cultures and their language styles, and to retain the exotic sentiment for the target readers. (Baidu Encyclopedia, Susong Longhua ,2011)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 14:11, 18 December 2020 (UTC)&lt;br /&gt;
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“归化”和“异化”是翻译过程中两种不同的翻译策略。这两个术语最初是由劳伦斯韦努蒂( Lawrence Venuti) 根据德国哲学家施莱尔马赫( Schleiermarcher) 的理论在他的著作《译者的隐身》中提出的。(王少飞，2006, 30) 归化指把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容的一种翻译策略。归化翻译要求译者向目的语的读者靠拢。归化翻译有助于读者更好地理解译文，增强译文的可读性和欣赏性。异化在翻译上迁就外来文化的语言特点，吸纳外语表达方式，要求译者向作者靠拢，采取相应于作者所使用的源语表达方式，来传达原文的内容，即以源语文化为归宿。使用异化策略的目的在于考虑民族文化的差异性、保存和反映异域民族特征和语言风格特色，为译文读者保留异国情调。（百度百科,宿松龙华，2011）&lt;br /&gt;
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====2.2 Two Levels of Domestication and Foreignization====&lt;br /&gt;
Foreignization and domestication should be investigated from the level of language form and cultural content. (Zhang Zhizhong 2005,46) On the one hand, at the linguistic level adopting the translation strategy of foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Domestication, because of its reader-oriented characteristics, can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement. On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and its advantages are greater than domestication. However, it is impossible to completely adopt the foreignization strategy, because there are too large cultural differences in cross-cultural communication, and it is necessary to use domestication to remove communication barriers. Therefore, at the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, using domestication strategies at the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization at the cultural level. In short, when the source language has distinctive national characteristics, the use of a combination of translation strategies of domestication and foreignization can maximize strengths,avoid weaknesses and promote cultural transmission.(Shen Sangshuang，Wang Shuqiong 2017, 87)&lt;br /&gt;
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Foreignization and domestication should be investigated from the level of language form and cultural content. (Zhang Zhizhong 2005,46) On the one hand, at the linguistic level, adopting foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Because of its reader-oriented characteristics, domestication can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement. On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and its advantages are greater than domestication. However, it is impossible to completely adopt  foreignization, because there are too many cultural differences in cross-cultural communication, and it is necessary to use domestication to remove the obstacles of communication. Therefore, at the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, using domestication at the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization at the cultural level. In short, when the source language has distinctive national characteristics, combining domestication and foreignization can maximize strengths, avoid weaknesses and promote cultural transmission.(Shen Sangshuang，Wang Shuqiong 2017, 87)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 14:41, 18 December 2020 (UTC)&lt;br /&gt;
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谈论异化和归化，应从语言形式和文化内容层面考察。（张智中，2005,46）一方面，在语言层面上，采取异化翻译策略有利于丰富目的语的表达方式，但是只有在少数情况下翻译的目的是展现源语的语言形式。而归化由于读者导向性的特点能保证译文通俗易懂，受到广大读者的青睐。故而在语言层面提倡主要采用归化策略，异化策略辅助的原则。另一方面，在文化层面上，异化能尽可能保留源语中蕴藏的文化元素和内涵，有助于传播异国文化，其优势大于归化。但是，完全采用异化策略是不可能的，因为在跨文化交际中存在文化差异过大的情况，需要采用归化来扫除交流障碍。因此，在文化层面上采用异化为主，归化为辅的原则。此外，在语言层面上采取归化策略能清楚的表达原文意思，有助于更好地体现在文化层面采用异化策略所表达的文化元素。总之，当源语具有鲜明的民族特色时，采用归化和异化结合的翻译策略能够扬长避短，促进文化传播。(沈桑爽，王淑琼，2017，87）&lt;br /&gt;
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Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and applications. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the author. On the one hand, from the perspective of readers we should try our best to use their habitual expressions and consider their way of thinking and understanding ability to make sure that they can understand the translation. On the other hand, we should pay attention to retaining the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. This is the basic requirement of a qualified translator of Chinese dish names. (Su Songlonghua 2011)&lt;br /&gt;
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Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and application. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the authors. On the one hand, we should consider their way of thinking and understanding ability as far as possible from the reader's point of view, so that they can understand the translation content. On the other hand, we should pay attention to retain the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. This is the basic requirement of a qualified translator of Chinese dish names. (Su Songlonghua 2011)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 14:41, 18 December 2020 (UTC)&lt;br /&gt;
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从理论上看异化和归化这两种翻译策略是对立的，然而在具体的翻译实践和应用中二者有紧密的联系，且相互作用。在中国菜名翻译中应用归化和异化翻译策略时，译者应处理好读者与作者之间的关系。一方面，应从读者的角度出发尽可能用其惯用的表达方式，考虑他们的思维方式和理解能力，以达到他们能明白翻译内容的目的。另一方面，应注意保留中国菜名中所蕴含的中国传统文化精髓，做到既不一味取悦读者，也不不知变通（一成不变），这是一位合格的中国菜名翻译者的基本素养。( 百度百科 宿松龙华 2011)&lt;br /&gt;
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===3. Application of Domestication and Foreignization in English Translation of Hunan Cuisine===&lt;br /&gt;
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====3.1 Composition and Nomenclature of Hunan Cuisine====&lt;br /&gt;
As one of the eight major cuisines in China, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes, which describe their mood. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture,from literal translation they don't know the specific methods and raw materials of this kind of dishes, so it is difficult to understand their meanings. (Chen Wei 2007，108)&lt;br /&gt;
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As one of the eight major Chinese cuisines, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture, from literal translation they don't know the specific methods and raw materials of this kind of dishes, so it is difficult to understand their meanings. (Chen Wei 2007，108)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:21, 19 December 2020 (UTC)&lt;br /&gt;
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湘菜作为中国八大菜系之一，具有中国菜肴独有的色香味俱全的特点，其命名亦显示不同的风格。湘菜一般可分为写实型菜肴和写意型菜肴，写实型菜肴直接体现烹饪要素。写意型佳肴则通常使用修辞手法，根据其本身的组成赋予菜肴一定的文化内涵。如果外国人不了解中国的文化，单从字面翻译他们不知道这类菜肴具体做法和原料，难以理解其具体含义。(陈蔚 2007，108)&lt;br /&gt;
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=====3.1.1 Realistic Dishes=====&lt;br /&gt;
Realistic dishes are often named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients embody fish, meat, chicken, etc.; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸). The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼). (Chen Wei 2007, 108)&lt;br /&gt;
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Realistic dishes are generally named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients include fish, meat, chicken, etc.; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸). The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼). (Chen Wei 2007, 108)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:21, 19 December 2020 (UTC)&lt;br /&gt;
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写实型菜一般根据其菜肴烹饪要素的组合命名，湘菜的烹饪要素主要包括原料、调料、刀法、口味和烹饪方法。常见的主料包括鱼、肉、鸡等；调料有八角、桂皮、葱、姜、蒜；种类繁多的刀法如，切片、切丝、切柳等；口味以酸辣、鲜嫩、酥脆、香熏著称；烹饪方法以爆、煨、炖、炒、烩、蒸为主。常见的组合方式包括以下三种：烹饪原料+方法+刀法，如青椒肉丝（Sauteed Shredded Pork with Green Pepper）；调料+原料，如姜辣牛蛙（Bullfrog with ginger sauce and pepper ）、酸辣萝卜条（Hot and sour radish strips）；口味+烹饪方法+原料，如五香熏鱼（Smoked fish in five flavors)。(陈蔚 2007，108)&lt;br /&gt;
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=====3.1.2 Freehand Dishes=====&lt;br /&gt;
There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of the dishes, which not only contains rich historical and cultural backgrounds and local flavors, but also expresses good wishes for good luck and has Chinese characteristics. These dishes are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子), hotpot of snakeheaded fish slices as butterflies out of the soup(蝴蝶飘海). The second one refers to the names of people and place names related to dishes, which has distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉) and Lixian County stewed pork gut(澧县肠子). (Chen Wei  2007，108)&lt;br /&gt;
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There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of the dishes, which not only contains rich historical and cultural background and local flavors, but also expresses good wishes for good luck and has Chinese characteristics. These dishes are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子), hotpot of snakeheaded fish slices as butterflies out of the soup(蝴蝶飘海). The second one refers to the names of people and place names related to dishes, which has distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉) and Lixian County stewed pork gut(澧县肠子). (Chen Wei  2007，108)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:21, 19 December 2020 (UTC)&lt;br /&gt;
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写意型菜包括两种类型。第一种根据菜肴的原料、色形或产地取名，使其不仅蕴含丰富的历史文化背景和地方风味，也表达了吉祥美好的祝愿，更具有中国特色。这些菜常以典故、传说命名或使用隐喻等修辞手法，如姊妹团子（Steamed Glutinous Rice Ball (with meat/sugar in it)）、蝴蝶飘海(Hotpot of snakeheaded fish&lt;br /&gt;
slices as butterflies out of the soup)。第二种引用与菜肴相关的人名、地名命名，具有鲜明的地方特色，如毛氏红烧肉（Mao's braised pork）、板栗烧菜心（Braised chestnut with green cabbage）、常德米粉(Changde rice noodles)，澧县肠子(Lixian county stewed pork gut)。(陈蔚 2007，108)&lt;br /&gt;
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According to the composition and nomenclature of Hunan cuisine and the high acceptability and comprehensibility of domestication and foreignization, translation strategies of domestication-based and foreignization-assisted translation of realistic Chinese dish names reproduces the original style well. The strategies of adopting foreignization as the main and domestication as the supplement for the English translation of freehand dish names can better convey the interesting characteristics of Chinese cuisine and the broad and profound cultural heritage. In the following I will use exemplification to analyze it from different perspectives. (Jiang Jun 2017, 203)&lt;br /&gt;
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According to the composition and nomenclature of Hunan cuisine and the high acceptability and comprehensibility of domestication and foreignization, translation strategies of domestication-based and foreignization-assisted translation of realistic Chinese dish names reproduces the original style well. The strategies of adopting foreignization as the main and domestication as the supplement for the English translation of freehand dish names can better convey the interesting characteristics of Chinese cuisine and the broad and profound cultural heritage. In the following I will use exemplification to analyze it from different perspectives. (Jiang Jun 2017, 203)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:21, 19 December 2020 (UTC)&lt;br /&gt;
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根据湘菜构成及命名方法和归化和异化的可接受度高和可理解性强的特点，翻译写实型中国菜名时采用归化为主、异化为辅的翻译策略很好地再现原作的风格，而针对写意型菜名英译采用异化为主、归化为辅的策略能较好地传达中餐妙趣横生的特征及博大精深的文化底蕴。下面我将从不同的角度使用例证法具体分析。 (姜君 2017, 203)&lt;br /&gt;
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====3.2 At the Language Level Domestication is the Mainstay and Domestication is the Supplement====&lt;br /&gt;
Domestication at the language level means that the English translation of Hunan dishes should use common and appropriate expressions in English to convey the meaning of Chinese dish names at different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of dish names for foreigners. (Shen Sangshuang，Wang Shuqiong 2017, 88)&lt;br /&gt;
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Domestication at the language level means that the English translation of Hunan dishes should use common and appropriate expressions to convey the meaning of Chinese dish names at different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of dish names for foreigners. (Shen Sangshuang，Wang Shuqiong 2017, 88)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:25, 19 December 2020 (UTC)&lt;br /&gt;
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语言层面的归化指湘菜的英译要在词汇、语义、语法等语言学的不同层面上，使用英语中常见、贴切的表达方式传达中国菜名的含义，以确保英译菜名在外国人中的接受度。(沈桑爽，王淑琼 2017, 88)&lt;br /&gt;
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=====3.2.1 Domestication at Lexical Level=====&lt;br /&gt;
“童子鸡”can be translated as “Tender chicken”(嫩滑的鸡肉), but it cannot be translated as “chicken without sexual life”(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens that have not mate. However, this dish originally emphasized that the chicken is tender and tastes very good, not the age of the chicken. Therefore, when translating “童子鸡”, the strategy of domestication is used at the lexical level. The word “Tender” is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding. This method is also applicable to the English translation of “鱼香肉丝”. “Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce”(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The “fish fragrance”(鱼香) of this dish does not refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled pepper, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish. (Lin Hong 1991, 41)&lt;br /&gt;
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“童子鸡”can be translated as “Tender chicken”(嫩滑的鸡肉), but it can’t be translated as “chicken without sexual life”(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens without mating. However, this dish originally emphasized that the chicken is tender and tastes very good, not the age of the chicken. Therefore, when translating “童子鸡”, the  domestication strategy is used at the lexical level. The word “Tender” is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding. This method is also applicable to the English translation of “鱼香肉丝”. “Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce”(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The“fish fragrance”(鱼香) of this dish doesn’t refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled pepper, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish. (Lin Hong 1991, 41)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:25, 19 December 2020 (UTC)&lt;br /&gt;
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“童子鸡”可译为Tender chicken(嫩滑的鸡肉)，但不能译成“chicken without sexual life”。按照这种字面翻译，“童子鸡”指的是没有交配的小鸡。然而，这道菜原本强调的是鸡肉很嫩，口感十分好，而非鸡的年龄。因此翻译“童子鸡”时在词汇层面使用归化策略，用tender表示“童子”这个概念，指鸡尚未发育成熟，可传神地表达这道菜的本质，避免误解。这种方法同样适用于“鱼香肉丝”的英译。“鱼香肉丝”（Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce）指混合着蒜末的肉丝。这道菜的“鱼香”并非指鱼肉的香味，而是一种用泡椒、糖、醋等多种调料组成的复合味道。上述译法即保留了中文的原意，又能引起外国人对鱼香味的联想。(林红 1991, 41)&lt;br /&gt;
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In addition, pinyin can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as wonton(馄饨), tofu(豆腐), jiaozi(饺子) and Shaomai(烧卖). These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, the use of pinyin can promote Chinese and Chinese cooking culture. (Shen Sangshuang, Wang Shuqiong 2017, 88)&lt;br /&gt;
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In addition, pinyin can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as “Wonton”(馄饨), “Tofu”(豆腐), “Jiaozi”(饺子), “Shaomai”(烧卖) and so on. These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, using pinyin can promote Chinese and Chinese food culture. (Shen Sangshuang, Wang Shuqiong 2017, 88)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:25, 19 December 2020 (UTC)&lt;br /&gt;
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此外，具有中国特色且被国外主要英文字典收录的，使用汉语方言拼音或音译拼写的菜名，英译时可使用拼音，如“馄饨”（Wonton）、“豆腐”（Tofu）、“饺子”（Jiaozi）、“烧卖”(Shaomai)等。这些菜肴都是已被外国人普遍接受的中国传统食品，使用拼音能推广汉语和中国饮食文化。(沈桑爽，王淑琼 2017, 88)&lt;br /&gt;
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=====3.2.2 Domestication at Semantic Level=====&lt;br /&gt;
Domestication at semantic level is conducive to convey the meaning of dish names simply and clearly. For example, “一卵孵双凤” can be translated as “two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)”. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. (Zhang Yang 2016, 48) In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfish, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of the dish comes from it. If this dish is directly translated as “goldfish plays with lotus” with the use of foreignization, it is difficult for people to figure out what it means. Therefore, “Oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean”(金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of “floating lotus”(浮莲).Similar examples include “stewed assorted meats/hotchpotch” (全家福), “hotpot of snakeheaded fish slices as butterflies out of the soup” (蝴蝶飘海) and “steamed whole hen with litchi, longan, jujube, lotus and medlar”(五元神仙鸡). (Zhang Yanping, Zhang Weiping 2016, 120)&lt;br /&gt;
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Domestication at semantic level is conducive to convey the meaning of dish names simply and clearly. For example, “一卵孵双凤” can be translated as “two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)”. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. (Zhang Yang 2016, 48) In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfish, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of the dish comes from it. If this dish is directly translated as “goldfish plays with lotus” with the use of foreignization, it is difficult for people to figure out what it means. Therefore, “Oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean” (金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of “floating lotus”(浮莲). Similar examples include “stewed assorted meats/hotchpotch”(全家福), “hotpot of snakeheaded fish slices as butterflies out of the soup”(蝴蝶飘海) and “steamed whole hen with litchi, longan, jujube, lotus and medlar”(五元神仙鸡). (Zhang Yanping, Zhang Weiping 2016, 120)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:25, 19 December 2020 (UTC)&lt;br /&gt;
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语义上的归化有利于简单明了地传达菜名的含义。例如，“一卵孵双凤”可译为Two phoenix were hatched from an egg(two chickens, winter bamboo shoots and mushrooms steamed in  watermelon).从上述翻译可以十分清楚地了解这道菜的主要食材和制作方法，从而不会再被菜名弄得一头雾水。 （张扬 2016，48）又如，“金鱼戏莲”以鱿鱼为主料制作而成，鱿鱼卷似金鱼，嬉戏于由鸡蛋、虾仁和青豆组成的群莲中，菜名由此而来。如果采用异化策略直接译为Goldfish plays with lotus,外国人很难弄明白这指的是什么。故用Oil-fried squid files and steamed shrimp meat, albumen and lima bean表示“金鱼戏莲”,既十分形象地表达了这道菜的本质，又通过“浮莲”意象的再现，能在读者脑海里构建一幅生动有趣的画面。类似的例子还包括“全家福”（Stewed assorted meats/hotchpotch）、“五元神仙鸡”（Steamed whole hen with litchi, longan, jujube, lotus and medlar）、“蝴蝶飘海”（Hotpot of snakeheaded fish slices as butterflies out of the soup）。 (张艳萍, 张伟平 2016, 120)&lt;br /&gt;
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=====3.2.3 Domestication at Grammatical Level=====&lt;br /&gt;
The domestication of Hunan cuisine at the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in the translation. Such as “Dongting spicy salted duck” (洞庭酱板鸭), “Dongting barbecued mandarin fish”(网油叉烧洞庭桂鱼), and “fried winter bamboo shoots”(油辣冬笋尖).Dishes with main ingredients and supplemented by ingredients, seasonings, and soups are generally translated by prepositions, such as “preserved egg with hot pepper”(尖椒皮蛋),“fragments of garlic bolt without using knife”(手撕蒜苗), “Yongzhou fried duck pieces together with its blood and balsam pear” (永州血鸭) and “braised pig knuckle in brown sauce” (走油猪腿). (Shen Sangshuang, Wang Shuqiong 2017, 88)&lt;br /&gt;
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The domestication of Hunan cuisine at the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in the translation. Such as “Dongting spicy salted duck” (洞庭酱板鸭), “Dongting barbecued mandarin fish”(网油叉烧洞庭桂鱼), and “fried winter bamboo shoots”(油辣冬笋尖).Dishes with main ingredients and supplemented by ingredients, seasonings, and soups are generally translated by prepositions, such as “preserved egg with hot pepper”(尖椒皮蛋),“fragments of garlic bolt without using knife”(手撕蒜苗), “Yongzhou fried duck pieces together with its blood and balsam pear” (永州血鸭) and “braised pig knuckle in brown sauce” (走油猪腿). (Shen Sangshuang, Wang Shuqiong 2017, 88)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:25, 19 December 2020 (UTC)&lt;br /&gt;
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湘菜在语法层面的归化主要体现在英译菜名时介词和动词过去分词的使用方面。湘菜多种多样的烹调方法，包括煨simmer、炖stew、蒸steam、炒fry、熏smoke，在译文中通常用过去分词。如“洞庭酱板鸭”（Dongting spicy salted duck ）、“网油叉烧洞庭桂鱼”（Dongting barbecued mandarin fish）、“油辣冬笋尖”（Fried winter bamboo shoots）。而以主料为主，配料、调料、汤汁为辅的菜肴一般会使用介词翻译，如“尖椒皮蛋”（Preserved Egg with Hot Pepper）、“手撕蒜苗”（Fragments of garlic bolt without using knife）、“永州血鸭”（Yongzhou fried duck pieces together with its blood and balsam pear）、“走油猪蹄”（Braised pig knuckle in brown sauce）。 (沈桑爽，王淑琼 2017, 88)&lt;br /&gt;
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====3.3 At the Cultural Level Foreignization is the Mainstay and Domestication is the Supplement====&lt;br /&gt;
As we all know, the exchange of food culture in cross-cultural communication is closely connected with daily life. Chinese dishes are both delicacy and art. They have profound cultural heritage and aesthetic value. There are many dishes named after allusions, legends and dishes with names of people and places in Hunan cuisine. Only when people understand their cultural background can they be translated into English more successfully. At the cultural level the translation strategies of foreignization as the mainstay and domestication as the supplement helps to inform customers of the taste, cooking method and ingredients of the dishes to the greatest extent, and accurately convey the cultural elements of the dishes. In my opinion, to use the foreignization translation strategy to translate Chinese food must first understand the characteristics of the naming of Western food. According to the famous French chef Auguste Escoffier, Western dishes are usually named after people, places, gods, historical events, and main ingredients. Comparing the naming and composition characteristics of Hunan cuisine and Western cuisine, it can be seen that when translating freehand Chinese cuisine names, the taste, ingredients, cooking methods and necessary knowledge background of the dishes must be reflected. So understanding the characteristics of Western dishes names is beneficial to the translation of Chinese freehand dish names. (Zhou Yonghong 2008, 101)&lt;br /&gt;
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As we all know, the exchange of food culture in cross-cultural communication is closely connected with daily life. Chinese dishes are both delicacies and art. They have profound cultural heritage and aesthetic value. There are many dishes named after allusions, legends and dishes with names of people and places in Hunan cuisine. Only when people understand their cultural background can they be translated into English more successfully. At the cultural level the translation strategies of foreignization as the mainstay and domestication as the supplement helps to inform customers of the taste, cooking method and ingredients of the dishes to the greatest extent, and accurately convey the cultural elements of the dishes. In my opinion, to use the foreignization translation strategy to translate Chinese food must first understand the characteristics of the naming of Western food. According to the famous French chef Auguste Escoffier, Western dishes are usually named after people, places, gods, historical events, and main ingredients. Comparing the naming and composition characteristics of Hunan cuisine and Western cuisine, it can be seen that when translating freehand Chinese cuisine names, the taste, ingredients, cooking methods and necessary knowledge background of the dishes must be reflected. So understanding the characteristics of Western dishes names is beneficial to the translation of Chinese freehand dish names. (Zhou Yonghong 2008, 101)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:30, 19 December 2020 (UTC)&lt;br /&gt;
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众所周知，跨文化交际中饮食文化的交流与日常生活紧密相连。中国菜品既是佳肴又是艺术品，其具有深厚的文化底蕴和审美价值。湘菜中有许多以典故、传说命名的菜肴以及带人名和地名的菜肴，人们了解其文化背景，才能较成功地将其译为英语。文化层面采取异化为主，归化为辅的翻译策略有助于最大程度告知顾客菜肴的口味、烹饪法和食材，精准传递菜品的文化元素。我认为，使用异化的翻译策略翻译中餐首先要了解西餐的命名的特点。法国名厨Auguste Escoffier 的认为，西餐菜肴通常用人名、地名、神灵、历史事件以及主要原料等命名。对比湘菜和西餐命名和构成特点，可知翻译写意型中餐菜名时需要体现菜名的口味、食材、烹饪方法以及必要的知识背景。由此可见，了解西餐菜名的特点有利于翻译中国写意型菜名的翻译。(周永红 2008, 101)&lt;br /&gt;
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=====3.3.1 Dishes Named after Allusions and Legends=====&lt;br /&gt;
以典故、传说命名的菜肴&lt;br /&gt;
There are many dishes named after allusions and legends in Chinese and Western cuisine. These dishes have historical and cultural origins and are not suitable for literal translation. For example, the famous French dish Veronique（薇洛妮克）is named after the mythical goddess. The white juice symbolizes her beautiful appearance, and the white grapes next to it symbolize her tears.“姊妹团子” is a local snack in Hunan Province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: in the early 1920s the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. The translation “Steamed glutinous rice ball (with meat/sugar in it)” points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance (operations12, 2008)&lt;br /&gt;
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There are many dishes named after allusions and legends in Chinese and Western cuisine. These dishes have historical and cultural origins and are not suitable for literal translation. For example, the famous French dish Veronique（薇洛妮克）is named after the mythical goddess. The white juice symbolizes her beautiful appearance, and the white grapes next to it symbolize her tears.“姊妹团子” is a local snack in Hunan Province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: in the early 1920s the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. The translation “Steamed glutinous rice ball (with meat/sugar in it)” points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance (operations12, 2008)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:30, 19 December 2020 (UTC)&lt;br /&gt;
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中餐和西餐中有不少以典故、传说命名的菜肴。这些菜有历史文化渊源，不适合采用直译的方法。例如，法国名菜Veronique（薇洛妮克）以神话女神命名，白汁与象征着她的美丽容貌，配在旁边的白色提子象征着她的眼泪。“姊妹团子”是湖南省地方特色小吃。其制作时用上等糯米磨成细粉，内陷是由鲜肉、香菇、味精、芝麻油等原料构成的肉馅。外形是尖顶平底长型锥体，蒸熟后像一座白色的小宝塔。这道菜肴的由来如下：本世纪20年代初在长沙火宫殿的圩场上年轻漂亮的姜氏姐妹摆了一个卖团子的摊子，她们制作的团子既好吃又好看，人们对此赞不绝口。译文“Steamed glutinous rice ball (with meat/sugar in it)”指出此菜主要原料是rice ball、辅料为meat和sugar,烹饪方法为steam,让人一目了然。(百度百科operations12, 2008)&lt;br /&gt;
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“湘西土匪鸭”is a dish named after an allusion. It is said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day,  not laying eggs properly and causing Zhang to hold the bamboo poles and rush and scold them every day: “You damn ducks, you are like bandits!” She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. Because of the ducks Zhang was extremely angry at that time, and she casually replied: “What kind of dish? Wild ducks!” Since then this dish has become famous. (百度百科) If we use the translation strategy of domestication to translate this dish as “Brigand in Xiangxi ducks”, it is incredible. Translating “湘西土匪鸭” into “Xiangxi wild ducks” not only allows guests to understand the special ingredients of the dish, but it embodies the legendary story of Xiangxi. (Zhang Yanping, Zhang Weiping 2016, 121-122)&lt;br /&gt;
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“湘西土匪鸭”is a dish named after an allusion. It is said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day, not laying eggs properly and causing Zhang to hold the bamboo poles and rush and scold them every day: “You damn ducks, you are like bandits!” She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. She casually replied: “What kind of dish? Wild ducks!” Since then this dish has become famous. (百度百科) If we use the translation strategy of domestication to translate this dish as “Brigand in Xiangxi ducks”, it is incredible. Translating “湘西土匪鸭” into “Xiangxi wild ducks” not only allows guests to understand the special ingredients of the dish, but it embodies the legendary story of Xiangxi. (Zhang Yanping, Zhang Weiping 2016, 121-122)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:30, 19 December 2020 (UTC)&lt;br /&gt;
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“湘西土匪鸭”是以典故命名的菜肴。传说湘西以前一个姓张的妇人开了一家餐馆，由于地广人稀，生意不太好。更糟糕的是，家中饲养的鸭子凶悍霸道，天天糟蹋庄稼，不好好下蛋，害得张氏天天拿着竹竿又赶又骂:“你们这些该死的鸭子，简直像土匪!。她一气之下把这些鸭子全杀了。由于这些爱撒野的鸭子肉质鲜美，且张氏厨艺很好，她烧的鸭子酥软嫩滑，鲜香绝伦，引得食客闻香而至,吸引大量的客人。有人问这叫什么菜，张氏气极，随口答：“什么菜/土匪鸭!”从此这道菜名声大震。(百度百科)若使用归化的翻译策略将这道菜译为“Brigand in Xiangxi ducks”让人匪夷所思。把“湘西土匪鸭”译成“Xiangxi wild duck”不仅能让客人了解菜的特殊食材，而且体现了湘西这个传奇的故事。 (张艳萍, 张伟平 2016, 121-122)&lt;br /&gt;
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=====3.3.2 Dish Names with Place Names and People's Names=====&lt;br /&gt;
带地名和人名的菜名&lt;br /&gt;
There are usually two translation methods for the name of a dish with a person's name and a place name in the name of a western dish: dish name + place + style; place /person’s name + dish name. For example, Macedonia de fruta(马其顿水果) uses the second translation method, indicating the origin and ingredients of the dish name. This is a classic dessert in Spanish restaurants. All kinds of fruits are cut into small pieces and then mixed with sugar water or juice. It's a little like Chinese fruit with sugar. The name of this dish is related to the Great Alexander of the Macedonian Empire in the fourth century BC. At the age of 30 Alexander established the largest empire in the history of the time and promoted the integration of races, cultures and languages throughout the empire. In the 18th century the French called things that combined various elements &amp;quot;Macedonia&amp;quot;. Therefore, this candied fruit chowder is named &amp;quot;Fruit Macedonia&amp;quot;.“攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian County, Hunan Province(湖南省攸县). This dish tastes smooth and tender. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish which is suitable for all ages. The translation &amp;quot;Dried tofu, Youxian style&amp;quot; uses the foreignization translation strategy to point out from the cultural level that the raw material of the dishes is dried tofu, and it reflects the local characteristics of Youxian County. (zzpingic1130, 2010)&lt;br /&gt;
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There are usually two translation methods for the dish name with a person's name and a place name in the name of a western dish: dish name + place + style; place /person’s name + dish name. For example, Macedonia de fruta(马其顿水果) uses the second translation method, indicating the origin and ingredients of the dish name. This is a classic dessert in Spanish restaurants. All kinds of fruits are cut into small pieces and then mixed with sugar water or juice. It's a little like Chinese fruit with sugar. The name of this dish is related to the Great Alexander of the Macedonian Empire in the fourth century BC. At the age of 30 Alexander established the largest empire in the history of the time and promoted the integration of races, cultures and languages throughout the empire. In the 18th century the French called things that combined various elements &amp;quot;Macedonia&amp;quot;. Therefore, this candied fruit chowder is named &amp;quot;Fruit Macedonia&amp;quot;.“攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian County, Hunan Province(湖南省攸县). This dish tastes smooth and tender. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish which is suitable for all ages. The translation &amp;quot;Dried tofu, Youxian style&amp;quot; uses the foreignization translation strategy to point out from the cultural level that the raw material of the dishes is dried tofu, and it reflects the local characteristics of Youxian County. (zzpingic1130, 2010)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:30, 19 December 2020 (UTC)&lt;br /&gt;
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西式菜名中带人名和地名的菜名通常有两种翻译方法：菜名+地名+style ; 地名/人名+菜名。例如，Macedonia de fruta(马其顿水果)的译文使用了第二种翻译方法，指明菜名的产地和原料. 这是西班牙餐馆中一道经典的饭后甜点。各种水果切成小丁后，伴上糖水或果汁，有点像咱们中国的糖渍水果。这道菜名和公元前四世纪的马其顿帝国的亚历山大大帝有关。亚历山大大帝在30岁时就建立了当时史上最大的帝国，并促进帝国内各地的种族、文化、语言等的大融合。到了18世纪，法国人就把融合了各种各样元素的事物称之为“马其顿”。因此，这道糖渍水果大杂烩就取名为“水果马其顿”了。“攸县香干”是湖南省著名的特色传统豆制品，起源于湖南省攸县境内。这道菜口感滑嫩、韧性足、口味纯、细而不腻，有点劲道。豆腐很容易入味，吃完后有回味，是一道老少适宜的家常菜。译文“Dried tofu ，Youxian style”采用异化的翻译策略从文化层面指出了菜的原料是烘干的豆腐，而且体现攸县的地方特色。 (百度百科 zzpingic1130, 2010)&lt;br /&gt;
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“玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. There are a variety of snacks in a bowl. The dishes are divided into seven layers, stacked one after another and shaped like a pagoda(宝塔). It's also known as “pagoda fragrant waist”(宝塔香腰). If this dish is translated as &amp;quot;sweet pig kidney&amp;quot;, it is difficult to explain its cultural heritage, and it does not show the beauty of this dish's visual “step by step”(步步高升) like a pagoda. “玉麟香腰”can be translated into English as “Yulin’s best homely dish”. According to legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. “Peng Yulin's best family banquet dishes”(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish and undoubtedly explain why this dish is also called “touwan”(头碗，the first dish). The English translation of the name of the dish implies “top”(顶级，最好). It seems to mean “to reach the highest level”(登塔至级). Translation of “Yulin’s best homely dish” not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （Zhang Yanping，Zhang Weiping，2016,121-122）&lt;br /&gt;
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“玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. There are a variety of snacks in a bowl. The dishes are divided into seven layers, stacked one after another and shaped like a pagoda(宝塔). It's also known as“pagoda fragrant waist”(宝塔香腰). If this dish is translated as &amp;quot;sweet pig kidney&amp;quot;, it is difficult to explain its cultural heritage, and it does not show the beauty of this dish's visual“step by step” (步步高升) like a pagoda. “玉麟香腰”can be translated into English as “Yulin’s best homely dish”. According to legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. “Peng Yulin's best family banquet dishes”(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish and undoubtedly explain why this dish is also called “touwan”(头碗，the first dish). The English translation of the name of the dish implies “top”(顶级，最好). It seems to mean “to reach the highest level”(登塔至级). Translation of “Yulin’s best homely dish” not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （Zhang Yanping，Zhang Weiping，2016,121-122）--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:30, 19 December 2020 (UTC)&lt;br /&gt;
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“玉麟香腰”是清代衡阳名官彭玉麟家厨创作而成，菜名由此而来。其主要食材是猪腰，一个碗里有多种小吃，菜分七层，层层堆砌，形状象宝塔，又名“宝塔香腰”。若将此菜译为“Sweet pig kidney”则很难解释它的文化底蕴，亦没有呈现这道菜视觉上“步步高升”如宝塔的美感。，“玉麟香腰”可以英译成 Yulin’s Best Homely Dish，因相传彭玉麟回乡宴请父老乡亲时，为表示丰盛，第一道菜就用的是“玉麟香腰”。“彭玉麟最好的家宴菜”能巧妙地解释了此菜的起源，无疑说明了此菜又称为“头碗”的缘由，且菜名英译中“最好”有蕴含“顶级”，似“登塔至级”之意：菜英译名 Yulin’s Best Homely Dish 不仅顺应了食客的心理世界，也充分考虑到受众的认知需要与审美期待。（张艳萍，张伟平，2016,121-122）&lt;br /&gt;
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====3.4 Limitations of Domestication and Foreignization in English Translation of Hunan Cuisine====&lt;br /&gt;
Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain its cultural connotation, but there are still shortcomings, which are mainly reflected in the following three aspects. Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤” and “全家福”. When we translate these dishes from Chinese into English, we don't know which words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meaning of them. Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into “Fotiaoqiang” or “Buddha jumping the wall”, it does not reflect the essence of this dish. “Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth” is more appropriate, but not concise enough. Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding.(Fan Jiwen 2016, 13-14) For example,“干锅烧明虾” and “红烧肉” both have the word “burn”(烧), but the translations are completely different. They should be translated as follows: “Fried prawns with pepper sauce” and “braised pork with brown sauce”. The cooking method of the first dish is “fried”(煎), and the second dish is “stewed”（炖）.（Zhang Yang，2016,48）&lt;br /&gt;
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Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain its cultural connotation, but there are still shortcomings, which are mainly reflected in the following three aspects. Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤” and “全家福”. When we translate these dishes from Chinese into English, we don't know which words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meaning of them. Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into “Fotiaoqiang” or “Buddha jumping the wall”, it does not reflect the essence of this dish. “Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth” is more appropriate, but not concise enough. Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding.(Fan Jiwen 2016, 13-14) For example,“干锅烧明虾” and “红烧肉” both have the word “burn”(烧), but the translations are completely different. They should be translated as follows: “Fried prawns with pepper sauce” and “braised pork with brown sauce”. The cooking method of the first dish is “fried”(煎), and the second dish is “stewed”（炖）.（Zhang Yang，2016,48）--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:31, 19 December 2020 (UTC)&lt;br /&gt;
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采用归化和异化结合的翻译策略能最大限度地保证湘菜译文清晰明了，保留其蕴含的文化内涵，但仍有不足，主要体现在以下三个方面。第一，异化要求译者向读者靠拢，尽可能用他们熟悉和习惯的表达方式，但有时候很难在目的语中找到对应的词语，尤其是文化负载词的翻译。比如汉语中表示吉祥的菜包括“四喜丸子”、“百鸟朝凤”、“全家福”，翻译时在准确表达菜名含义的基础上不知道该用什么词来传达吉祥美好的意思。第二，由于菜单容量的限制，以典故、传说、神话等命名的中国菜肴的含义不能完全表达。如果直译或者音译，客人可能会十分困惑。选择音译加注解的方式则内容太多，违背菜单简洁的原则。例如，“佛跳墙”如果译成“Fotiaoqiang”or “Buddha jumping the wall”未体现这道菜的本质。“Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth”比较贴切，但不够精简。第三，由于中国的烹饪方法和调料多种多样，英译时使用归化的翻译策略对于了解中国饮食文化的人来说是有利的，但是对于大部分不知道或者不熟悉这些烹饪方法和调料的外国人来说，这类的译文会增加他们的理解难度。(范继文 2016, 13-14)  比如， “干锅烧明虾”与“红烧肉”都有“烧”字，但是译法却是完全相同的，应该分别翻译如下：“Fried Prawns with Pepper Sauce”与“Braised Pork with Brown Sauce”。第一道菜的烹饪方法是“煎”，第二道菜则是“炖”。（张扬，2016,48）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Although foreignization and domestication are theoretically opposite, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking translation strategies of domestication and foreignization from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this chapter can provide some valuable reference for future research on the English translation of Chinese dish names. (Wang Yingying, Zhang Yu 2009, 58)&lt;br /&gt;
&lt;br /&gt;
Although foreignization and domestication are opposite in theory, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking translation strategies of domestication and foreignization from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this paper can provide some valuable reference for future research on the English translation of Chinese dish names. (Wang Yingying, Zhang Yu 2009, 58)--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 09:32, 19 December 2020 (UTC)&lt;br /&gt;
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尽管异化与归化在理论上是对立的，但在中国菜名英译过程中二者的作用是相辅相成，缺一不可的。针对写实型和写意型的菜肴从语言和文化层面采取异化和归化的翻译策略不仅能够尽可能地忠于原文，还可以体现菜名中蕴含的丰富文化内涵和中国元素。由此可见，中国菜名的英译是跨文化交际中不可或缺的一部分，是传播中国传统文化的重要环节。希望本文能为未来中国菜名英译研究提供一些有价值的参考。 (王瑛瑛， 张瑜 2009, 58)&lt;br /&gt;
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===References===&lt;br /&gt;
*Chen Wei. 陈蔚. (2007). “从中式菜名的英译看异化与归化策略的运用” [ Application of Foreignization and Domestication in the Translation of Chinese Dish Names]. “黄石理工学院学报” [Journal of Huangshi Institute of Technology] (1):107-108.&lt;br /&gt;
*Fan Jiwen. 范继文. (2016). “归化异化理论视角下的中式菜名英译研究——以川菜菜名翻译为例” [A study on the English translation of Chinese Dish Names from the Perspective of Domestication and Foreignization-Taking Chuan Cuisine as an Example]. Tianjin: 天津财经大学 [Tianjin University of Finance and Economics].&lt;br /&gt;
*Lin Hong. 林红. (1991). “浅析中国菜名的英译问题” [A Study on the Problems of English Translation of Chinese Dish Names]. “四川烹饪高等专科学校学报” [Journal of Sichuan Culinary College] (2):41-42.&lt;br /&gt;
*Jiang Jun. 姜君. (2017). “浅析异化与归化视角下的中餐菜名英译” [A Study on the English Translation of Chinese Dish Names from the Perspective of Foreignization and Domestication]. “语言文化” [Language and culture](3):203.&lt;br /&gt;
*Operations (2008.3.10). 姊妹团子. [Steamed Glutinous Rice Ball].  &amp;quot;Baidu Encyclopedia&amp;quot;. https://baike.baidu.com/item/姊妹团子.&lt;br /&gt;
*Su Songlonghua. 宿松龙华. (2011.1.13). 归化异化. [Domestication and Foreignization]. “Baidu Encyclopedia”. https://baike.baidu.com/item/归化异化.&lt;br /&gt;
*Shen Sangshuang, Wang Shuqiong. 沈桑爽，王淑琼. (2017). “传统杭帮菜名称英译的归化与异化翻译策略研究” [A Study on the Translation Strategies of Domestication and Foreignization in the English Translation of the Names of Traditional Hangbang Dishes]. “安徽文学” [Anhui Literature] (8):87-88+104.&lt;br /&gt;
*Wang Junjian. 王君健. (2017). “中国菜名翻译现状与思考” [Translation Status and Thoughts of Chinese Dish Names]. “海外英语” [Overseas English] (11):107-108.&lt;br /&gt;
*Wang Shaofei. 王少飞. (2006). “文学翻译的异化与优化” [Foreignization and Optimization of Literary Translation]. Beijing: 对外经济贸易大学 [Foreign Economic and Trade University].&lt;br /&gt;
*Wang Yingying, Zhang Yu. 王瑛瑛，张瑜. “异化与归化策略在中国菜名翻译中的应用” [The Application of Foreignization and Domestication Strategies in the Translation of Chinese Dishes]. “商洛学院学报” [Journal of Shangluo University] (3):54-58.&lt;br /&gt;
*Xiong Bing. 熊兵. (2014). “翻译研究中的概念混淆——以‘翻译策略’、‘翻译方法’和‘翻译技巧’为例” [Conceptual Confusion in Translation Studies: a Case Study of &amp;quot;Translation Strategies&amp;quot;, &amp;quot;Translation Methods&amp;quot; and &amp;quot;Translation Skills&amp;quot;]. “中国翻译” [China Translators Journal] (3):82-88.&lt;br /&gt;
*Xia Ying. 夏瑛. (2016). “浅谈中国菜名英译中存在的一些问题及对策研究” [A Study on the Problems and Measures in the English Translation of Chinese Dish Names]. “科技视界” [The Vision of Science and Technology] (26):259+273.&lt;br /&gt;
*Zhang Yang. 张扬. (2016). “中餐菜名的英译研究——以湘菜菜名为个案” [A Study on the English Translation of Chinese Dishes: Taking Hunan Cuisine as an Example]. “英语广场” [English Square] (6):47-48.&lt;br /&gt;
*Zhou Yonghong. 周永红. (2008). “接受美学视阈下的湘菜翻译探讨” [A Study on the Translation of Hunan Cuisine from the Perspective of Reception Aesthetics]. “贵州工业大学学报” [Journal of Guizhou University of Technology] (1):101-102+105.&lt;br /&gt;
*Zhang Yanping, Zhang Weiping. 张艳萍，张伟平. (2016). “基于语料库的湘菜菜名英译研究” [A Corpus-based Study on the English Translation of Hunan Dishes]. “南华大学学报” [Journal of Nanhua University] (1):119-122.&lt;br /&gt;
*Zzpingic1130 (2010.8.7). 攸县香干. [Dried Tofu, Youxian Style]. “Baidu Encyclopedia”. https://baike.baidu.com/item/攸县香干.&lt;br /&gt;
*Zhang Zhizhong. 张志中. (2005). “兼容并蓄 双层操作——异化归化之我见” [Inclusive and Double Operation -- My View on Foreignization and Domestication]. “语言与翻译” [Language and translation] (2):44-48.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=115669</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=115669"/>
		<updated>2020-12-19T11:54:48Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Tuli and Descriptive translation */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
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学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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(please add your student number and major)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal and functional equivalence, the former of which pursues the equivalence in form and content and the latter of which  pursues equivalence in function between the two languages. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)&lt;br /&gt;
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===key words===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
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As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but it does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style had not been covered by linguistic theory by then. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, the translator should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.(This paragraph is too long so I divided it into two parts.)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. (Lack of the source)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures. Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Third, if it still doesn’t work after changing the form, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but translators are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.(What’s the meaning of gloss translation?)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between Chinese and English is that Chinese is a parataxis language while English is hypotaxis. That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter is a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.(separate the paragraph)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively , actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. With formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is vivider and easier to understand for the target readers.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Westerners focus more on science and will employ it to account some social phenomena.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example, “Take care. Hope to see you soon.” is a polite and emotional way to express feelings.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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It is very common that a word in English may bear several different meanings, so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translators’mind but in the following sentence, it doesn’t make sense if they translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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It is obvious to see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese often greet people with “吃了吗?去哪啊?” as Chinese regard food as something that matters much to their life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I have asked Dobbin of ours to come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics, and reasonably infer that it actually means shy.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.(please add the source)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivider description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Theory of functional equivalence and formal equivalence matters a lot and has guided a great deal of translation practices. Though having been developed a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fittest translation.  --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. Translators must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)(Separate the paragraph)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
&lt;br /&gt;
Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Hao Jingfang's science fiction &amp;quot;Folding Beijing&amp;quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida's functional equivalence to &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the first translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:05, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
&lt;br /&gt;
In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information.&lt;br /&gt;
&lt;br /&gt;
This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence are achieved.（Zhou Xingyang,2018:11）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, genre and culture.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. （Zhao Dandan,2011:1）&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,Toward a Science of Translating. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. （Nida,2004:24） &lt;br /&gt;
&lt;br /&gt;
In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows. Dynamic equivalence is defined as the degree to which the receptors of information in the receptor language react to the information in essentially the same way as the receptors in the source language react to the information (Nida, 2004: 24) Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot; (Nida 1993:118). &lt;br /&gt;
&lt;br /&gt;
Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book Language, Culture and Translation, Nida divides functional equivalence into two levels of categories:the minimal level and the maximum level.The minimal level,as a realistic definition of functional equivalence, is defined as &amp;quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence, the translator must make the translation conform to (1) the context of the source language message, (2) the response of the reader of the recipient language, and (3) the recipient language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes verbal comparison between the original and the target text. Functional equivalence involves the reader's response. If the target language readers' understanding and appreciation of the target language is basically the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader's reaction to translation.（Zhao Dandan,2011:1）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber stated that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of Folding Beijing from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
&lt;br /&gt;
Nida and Taber point out that &amp;quot;translation consists in reproducing the closest natural equivalence of source language information in the receptor language, above all in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: word, sentence, and segment, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from the perspectives of lexis, syntax and discourse (Nida, 2004:12).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:（Din Juan,2011:22）&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of Beijing Folding, there are many examples of how the translation can achieve functional equivalence with the original at the lexical level, as follows: (Ding Juan, 2011:22)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
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&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
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&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. &lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, In this way, the translation better expresses the author's intention and conveys what appears to be a bad temper. --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The author did not translate directly “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to show the original meaning.&lt;br /&gt;
&lt;br /&gt;
The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
=====2.1.2 Syntactic Level=====&lt;br /&gt;
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Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. （Din Juan,2011:24）&lt;br /&gt;
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Syntax, as a rule, refers to the study of how to construct sentences correctly with the words in a language. In literary translation, the translator should make the syntax easy to be understood by the readers. Translators should take full account of the syntactic differences between English and Chinese.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.（Din Juan,2011:24）&lt;br /&gt;
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The differences between English and Chinese grammar are mainly reflected in three aspects. First, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress (Ding Juan, 2011: 24).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: （Din Juan,2011:24）&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence with the original, we must not only translate the meaning of the words, but also translate the syntactic structure into the appropriate form. The following are examples of how the English translation of Folding Beijing achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains what &amp;quot;放开&amp;quot; means.&lt;br /&gt;
&lt;br /&gt;
We can see that in the translation of this passage, the translator clearly adjusted the word order, pushing what the same person said before the pause to the next sentence to fit the logic of the English reader.&amp;quot; Selection should also be liberalized&amp;quot; ,the literal translation of this sentence must be incomprehensible to the reader, so the reader adds to this sentence and translates it as &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, the translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
&lt;br /&gt;
“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
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In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences, rather than using a subordinate clause like &amp;quot;…childhood that…&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using subordinate clause like&amp;quot;... childhood that...&amp;quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
&lt;br /&gt;
In this passage, we can see clearly that English has many more conjunctions than Chinese, such as &amp;quot;as if&amp;quot;, &amp;quot;from where&amp;quot;, &amp;quot;that&amp;quot;, etc. This is because the syntax of the two languages is different.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.1.3 Discourse level=====&lt;br /&gt;
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Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.(Din Juan,2011:27）&lt;br /&gt;
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Nida argues that readers may have difficulty accepting an approximate formal translation due to the intricacies of the discourse structure and the preconceived knowledge of the original content. Therefore, it is necessary to choose a &amp;quot;rewriting&amp;quot; approach to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be comparable to the original text in terms of discourse level. A dialogue from Folding Beijing and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Ding Juan,2011:27)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)&lt;br /&gt;
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“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
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老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
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“可是这等于我也得撒谎。”&lt;br /&gt;
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依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
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Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
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&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
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Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &amp;quot;spooned a serving of the new hot dish&amp;quot;, the translator changed the action to &amp;quot;spoon&amp;quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, this sentence adds some action to make it more pictorial.&lt;br /&gt;
&lt;br /&gt;
Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translation. The form of the dialogue is not exactly translated from Chinese, but the understanding of the text is the same for the readers. For example, &amp;quot;夹了新上来的热菜&amp;quot; is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
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Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
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Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.2.1 Rhetoric=====&lt;br /&gt;
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First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.（Din Juan,2011:30）&lt;br /&gt;
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Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.&lt;br /&gt;
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In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this paragraph, it is a metaphor, and the words &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated, only translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
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It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
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&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
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It has a personification in this paragraph, &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks and arms&amp;quot;, and &amp;quot;like the humblest servants&amp;quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.&lt;br /&gt;
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This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
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&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
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In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle.&lt;br /&gt;
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In this sentence, &amp;quot;怪胎&amp;quot; is translated as &amp;quot;monster&amp;quot; and &amp;quot;born&amp;quot; conveys the same meaning, so the translator did not have any trouble.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.2.2 Dialects=====&lt;br /&gt;
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Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.（Din Juan,2011:33）&lt;br /&gt;
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The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem. (Dingjuan, 2011:33)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
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In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.&lt;br /&gt;
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In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
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In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture,  folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.（Zhou Xingyang,2018:47）&lt;br /&gt;
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Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of Folding Beijing from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
=====2.3.1 Food Culture=====&lt;br /&gt;
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The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.（Din Juan,2011:39）&lt;br /&gt;
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The city described in  Folding Beijing is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot;is a well-known traditional snack in China. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. Translators translate it as &amp;quot;chow mein&amp;quot; instead of &amp;quot;Chinese chow mein&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means Chinese-style fried noodles with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The foreignizing translation is adopted here, &amp;quot;白酒&amp;quot; is translated into &amp;quot;baijiu&amp;quot; , the translator doesn't use the word like &amp;quot;spirits&amp;quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.&lt;br /&gt;
&lt;br /&gt;
Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.（Zhou Xingyang,2018:53）&lt;br /&gt;
&lt;br /&gt;
The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator has captured this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
=====2.3.2 Folk Culture=====&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique lifestyles, customs, behavior patterns, etc. in terms of vocabulary. The following will analyze the functional equivalence of translation in folk culture. (Zhou Xingyang,2018:52).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the boy's poverty. The translator takes into account the differences between Chinese and Western cultures, where Westerners behave differently, so he uses the word &amp;quot;sharing&amp;quot; and adds the word &amp;quot;family style&amp;quot; to make it easier for the reader to understand this behavior.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word so that readers can understand it easily.&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is one of the major characteristics of Chinese culture. People from the same hometown share similar living habits, upbringing and cultural background, so even strangers can get acquainted quickly and even help each other. Since Lao Ge and Lao Dao are from the third dimension, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective.&amp;quot; 管事儿&amp;quot; means to have some authority. The translator also explains this word to make it easy for readers to understand.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &amp;quot;心意&amp;quot; means money, which is an euphemism used in China when it is inconvenient to offer money directly. In translation, the translator also considered an euphemistic way of expression, so he used the word &amp;quot;appreciation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.3.3 Culture of Idioms=====&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the vast and profound Chinese culture. Chinese people use these idioms in their daily life and writing, but some idioms sometimes have different meanings in different contexts. However, some idioms sometimes have different meanings in different contexts, and it is important to pay attention to the differences between the two cultures when translating them.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, the translator translated it into &amp;quot;ate heartily&amp;quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers.&lt;br /&gt;
&lt;br /&gt;
The author uses many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;to eat in a heartbeat&amp;quot;. Although the translation is easy to understand, without the image of a person eating very hungry, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot;translated into &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; translated into &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;(盘子)一片狼藉&amp;quot; is translated as &amp;quot;the plate is a mess&amp;quot;, which is a description of a messy situation on the plate. And &amp;quot;the beauty of adulthood&amp;quot; is translated as &amp;quot;in that case, I am doing a good deed by keeping quiet&amp;quot;, the idiom in the original text was originally used to describe how Lao Dao felt that he kept the secret that Yi Yan and Qin Tian might be together in the future. The translator translated the phrase abstractly into the English translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
The English translation of Folding Beijing is analyzed from three aspects of meaning, style, and culture using this paper's functional equivalence theory, and it is concluded that the English translation meets the English readers' understanding of the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and reciprocal Chinese translation of Folding Beijing for English readers. (Zhou Xingyang,2018:56)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyze from three aspects: meaning, style and culture &amp;quot;Folding Beijing&amp;quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western cultures, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words.&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translators do not translate into exactly the same form, which is also in line with Nida's theory of functional equivalence, because Nida also suggests that translation should not be limited to form, and the translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original, which may be an area for improvement. Nida's functional equivalence theory does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
&lt;br /&gt;
Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.  &lt;br /&gt;
&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.  --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
&lt;br /&gt;
American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
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The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
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Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
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Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
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Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
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Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
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Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
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Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
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The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
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Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
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He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
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So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
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“Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
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“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
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Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
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It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
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In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
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Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
&lt;br /&gt;
In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
&lt;br /&gt;
“There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
&lt;br /&gt;
 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
&lt;br /&gt;
(1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
   亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
&lt;br /&gt;
In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
&lt;br /&gt;
(2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
   蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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&lt;br /&gt;
Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
&lt;br /&gt;
An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
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Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen 202020080603==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
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===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
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===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
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===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
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The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
&lt;br /&gt;
The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
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The first is the implied meaning(implictit), which means that the speaker actually wants to experess the meaning: the second is explicit, which the speaker actually says content.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
  &lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
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Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
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The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
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understanding: the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and though contend to be expressed, this stage is called interpretation of discourse. --[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
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The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
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In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
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===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
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There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
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Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
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===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
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Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
&lt;br /&gt;
===3.2 Addition of Message===&lt;br /&gt;
&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
&lt;br /&gt;
===3.3 Positive and Negative Translation===&lt;br /&gt;
&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
&lt;br /&gt;
Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
&lt;br /&gt;
The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
&lt;br /&gt;
*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures  陈佳欣	Chen Jiaxin 202020080593==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
The “article” would better to be “paper”  The “problem” would better to be “ disputation” or “controversy”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 09:45, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
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====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). &lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
&lt;br /&gt;
The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
&lt;br /&gt;
By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
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Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
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Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
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Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
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Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
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Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
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Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
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WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi 202020080598 比较文学与跨文化研究==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则&lt;br /&gt;
&lt;br /&gt;
安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 11:34, 19 December 2020 (UTC)&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.&lt;br /&gt;
&lt;br /&gt;
In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
&lt;br /&gt;
In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden's comparison of the translator and slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of Western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:56, 18 December 2020 (UTC)&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
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===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. &lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I enjoy reading this book because it brings us and those aloof and remarkable scholars more closer. After reading their original words, they seem to appear fresh before our eyes and narrate their feelings of being translators to us themselves. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105)&lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:56, 19 December 2020 (UTC)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden argued that when it comes to metaphrase, the translator is encumbered with many difficulties: not only should he consider the thought of his author, his word, and finding out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:42, 19 December 2020 (UTC)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argued that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014) &lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars such as Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
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About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
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About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:36, 18 December 2020 (UTC)&lt;br /&gt;
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===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
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In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
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Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
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The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
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He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
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The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
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Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
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Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
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The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognized that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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Finally, Liu points out that western translation theory is &amp;quot;technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
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Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the superficial, assertive and rational current views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
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Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread throughtout China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features change from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
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As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
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The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
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The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
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Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15) Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
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Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:51, 19 December 2020 (UTC)&lt;br /&gt;
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Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
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Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
&lt;br /&gt;
Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argued that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
&lt;br /&gt;
===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
&lt;br /&gt;
===4.2 From the aspect of the arrangement===&lt;br /&gt;
Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.&lt;br /&gt;
&lt;br /&gt;
Both of the two books are arranged in a theme way rather than a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation plays in education, and the translating technique. Liu arranges his book differently for the longer essays are collected in the last chapter.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:07, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.&lt;br /&gt;
&lt;br /&gt;
Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includes the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which help the readers to better understand the translation principles.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:26, 18 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.&lt;br /&gt;
&lt;br /&gt;
In conclusion, the paper intends to help readers to have a profound understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of translator to slave as well as the figuring out of the reason of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:37, 18 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
&lt;br /&gt;
André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
&lt;br /&gt;
Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
&lt;br /&gt;
Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
&lt;br /&gt;
Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
&lt;br /&gt;
Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
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Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
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Ancient Translation Period&lt;br /&gt;
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The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
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Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)&lt;br /&gt;
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Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
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A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
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(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
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Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
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Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
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Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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 Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
&lt;br /&gt;
===Analysis of Theoretical Research Status===&lt;br /&gt;
&lt;br /&gt;
Descriptive Analysis of Translation Theory Research&lt;br /&gt;
&lt;br /&gt;
First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
&lt;br /&gt;
Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
&lt;br /&gt;
The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
&lt;br /&gt;
First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
&lt;br /&gt;
Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
&lt;br /&gt;
Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
&lt;br /&gt;
Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
&lt;br /&gt;
Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
&lt;br /&gt;
This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
&lt;br /&gt;
Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
&lt;br /&gt;
The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
&lt;br /&gt;
The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
&lt;br /&gt;
===Trends in Translation Theory Research===&lt;br /&gt;
&lt;br /&gt;
Interdisciplinary cooperation and integration&lt;br /&gt;
&lt;br /&gt;
Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
&lt;br /&gt;
In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
&lt;br /&gt;
Return to culture development&lt;br /&gt;
&lt;br /&gt;
The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
&lt;br /&gt;
Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
&lt;br /&gt;
Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
&lt;br /&gt;
[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
&lt;br /&gt;
[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645==&lt;br /&gt;
&lt;br /&gt;
                                                吴子佳	Wu Zijia  202070080645&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
&lt;br /&gt;
归化，异化，文化负载词，跨文化交流&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
&lt;br /&gt;
On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
&lt;br /&gt;
For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）&lt;br /&gt;
&lt;br /&gt;
==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
&lt;br /&gt;
Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
&lt;br /&gt;
Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
&lt;br /&gt;
四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
&lt;br /&gt;
2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
&lt;br /&gt;
With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
&lt;br /&gt;
For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
&lt;br /&gt;
For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.(quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. (quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.(J.A Catford , 1965)&lt;br /&gt;
&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Holmes published ''The Name and Nature of Translation Studies'' at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.( James Holmes,1975)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.(Wolfram Wilss, 1982)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.( Peter Newmark, 1981)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.(Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.(Christiane Nord, 1997)&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.(Mona Baker, 2006)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.(Dong Qiusi, 1951)&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.(Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong X&lt;br /&gt;
iangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.(Yi Jing, 2009)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.(Zou Bing and Mu Lei, 2020) &lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition.(Wang Yin,2017)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.(Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.（Yang Zijian，1993）&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995）&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.( Kong Xiangli,2009)&lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies. (Liu Zhongde,1989)&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.(Yi Jing,2009)&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei ect. (Yi Jing,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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'''3.2.2 The awareness of an independent academic discipline'''--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.(Tan Zaixi, 1987 )&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
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Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.(Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
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Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.(Zou Bin, Mu Lei,2020 )&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.(Yi Jing, 2009 )&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)&lt;br /&gt;
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Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.(Kong Xiangli，2009 )&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.(Kong Xiangli，2009 )&lt;br /&gt;
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The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.4.2 Discipline structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.(Yang Zijian,1993)&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
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From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
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From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
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Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot;  Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.(Liu Miqing, 1989)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.&lt;br /&gt;
&lt;br /&gt;
Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''&lt;br /&gt;
&lt;br /&gt;
Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.&lt;br /&gt;
&lt;br /&gt;
Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.&lt;br /&gt;
&lt;br /&gt;
Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp;amp; Arts] 35-41.&lt;br /&gt;
&lt;br /&gt;
Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].&lt;br /&gt;
&lt;br /&gt;
Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.&lt;br /&gt;
&lt;br /&gt;
Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.&lt;br /&gt;
&lt;br /&gt;
Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.&lt;br /&gt;
&lt;br /&gt;
O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
&lt;br /&gt;
Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
&lt;br /&gt;
Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
&lt;br /&gt;
Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
&lt;br /&gt;
Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
&lt;br /&gt;
Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Translation Studies, translation education, translation talents&lt;br /&gt;
&lt;br /&gt;
==='''题目'''===&lt;br /&gt;
&lt;br /&gt;
对中国翻译学学习的反思&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。&lt;br /&gt;
&lt;br /&gt;
随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:36, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''=== &lt;br /&gt;
&lt;br /&gt;
翻译学，翻译教育，翻译人才&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''1. Introduction'''===&lt;br /&gt;
&lt;br /&gt;
1.1. The Connotation of Translation Studies&lt;br /&gt;
&lt;br /&gt;
Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;''The Name and Nature of Translation Studies''&amp;quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
&lt;br /&gt;
Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
&lt;br /&gt;
Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
&lt;br /&gt;
Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
&lt;br /&gt;
1.1. The Connotation of Translation Studies&lt;br /&gt;
Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
&lt;br /&gt;
Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
&lt;br /&gt;
Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
&lt;br /&gt;
Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:49, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.2. The Significance of Translation Studies&lt;br /&gt;
&lt;br /&gt;
With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. &lt;br /&gt;
&lt;br /&gt;
As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
&lt;br /&gt;
Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
&lt;br /&gt;
1.2. The Significance of Translation Studies&lt;br /&gt;
&lt;br /&gt;
With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
&lt;br /&gt;
As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
&lt;br /&gt;
Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:45, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
&lt;br /&gt;
Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.&lt;br /&gt;
&lt;br /&gt;
Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1. The Exploration Period of Translation Studies &lt;br /&gt;
&lt;br /&gt;
In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
&lt;br /&gt;
In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
&lt;br /&gt;
The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.&lt;br /&gt;
&lt;br /&gt;
The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.&lt;br /&gt;
&lt;br /&gt;
However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
&lt;br /&gt;
At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.2. The Development Period of Translation Studies&lt;br /&gt;
&lt;br /&gt;
At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
&lt;br /&gt;
At the beginning of this period, translation studies was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &amp;quot;''China Translator''&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
&lt;br /&gt;
At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
&lt;br /&gt;
Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
&lt;br /&gt;
In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
&lt;br /&gt;
In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) &lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.（quotation missing）&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1. Translation Education&lt;br /&gt;
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With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019) &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC) &lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare.（Ou Yonghua 2019） &lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.2.2. Insufficient background knowledge &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
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3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.1. Translation Education&lt;br /&gt;
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4.1.1. Improve Teaching Mode&lt;br /&gt;
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The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. (Wang Baigula 2018)&lt;br /&gt;
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The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) &lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.1.2. Strengthen Faculty Force&lt;br /&gt;
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Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
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4.1.3. Broaden the academic vision of translation&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of roadmap for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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4.2. Students &lt;br /&gt;
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The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
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Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.1. Expanding knowledge&lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) &lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
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From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hope that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.&lt;br /&gt;
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Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.&lt;br /&gt;
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Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].&lt;br /&gt;
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Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.&lt;br /&gt;
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Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.&lt;br /&gt;
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Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. &lt;br /&gt;
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Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16&lt;br /&gt;
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Linlin.林琳.(2016).英语文学翻译学习现状及改善措施.[ The Status Quo and Improvement Measures of English Literature Translation Learning].西部素质教育[''Western China Quality Education''] 65.&lt;br /&gt;
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Luo Feng.罗峰.(2011).从翻译学学科建设看翻译学在中国的发展.[On the Development of Translation Studies As A Discipline in China].琼州学院学报[''Journal of Qiongzhou University]''115-116.&lt;br /&gt;
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Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.&lt;br /&gt;
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Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.&lt;br /&gt;
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Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].&lt;br /&gt;
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Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. &lt;br /&gt;
&lt;br /&gt;
Xu Jun, Mu Lei. 许钧, 穆雷.(2009).中国翻译学研究30年 (1978 -2007).[30 years of Chinese Translation Studies (1978 -2007)].外国语[''Journal of Foreign Languages'']77-87.&lt;br /&gt;
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Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.&lt;br /&gt;
&lt;br /&gt;
Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.&lt;br /&gt;
&lt;br /&gt;
Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.&lt;br /&gt;
&lt;br /&gt;
Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
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&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
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===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
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===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 14:49, 18 December 2020 (UTC)&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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(While your first quote here may be intended to explain to the reader where the concept of cultural identity came from, I suggest you explain the meaning of the concept proposed by the cited author.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
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（Be clear about what exactly domestication or foreignization in your text means and who defines it. Use word “domestication” instead of “naturalization”in general.）--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
(Here you used foreignization ,but above the paper,you use alienation,The specific concepts of context should be unified.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
(Here world literature is not very accurate, maybe you can say world translation)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &amp;quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's love for Shakespeare is so strong that &amp;quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. &lt;br /&gt;
&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;the highest art only a few people can understand ......, literature and art is not the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
(Here maybe you want to say Irving Babbitt not Byrd, plz check it again)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
&lt;br /&gt;
EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
&lt;br /&gt;
This man hath my consent to marry her．&lt;br /&gt;
是我答应把我女儿嫁给他的&lt;br /&gt;
&lt;br /&gt;
Stand forth，Lysander．&lt;br /&gt;
走上前来，拉山德。&lt;br /&gt;
&lt;br /&gt;
And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
&lt;br /&gt;
In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
&lt;br /&gt;
拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
&lt;br /&gt;
First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
&lt;br /&gt;
Translation of Liang Shiqiu:&lt;br /&gt;
&lt;br /&gt;
赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
&lt;br /&gt;
否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
&lt;br /&gt;
HELENA She was a vixen when she went toschool: &lt;br /&gt;
&lt;br /&gt;
And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
&lt;br /&gt;
海 上学时她就是个狐狸精。&lt;br /&gt;
&lt;br /&gt;
她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
&lt;br /&gt;
Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
&lt;br /&gt;
For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
&lt;br /&gt;
Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
&lt;br /&gt;
The translation of Liang Shiqiu：&lt;br /&gt;
(You can say Liang’s version :)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
&lt;br /&gt;
For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
&lt;br /&gt;
By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
&lt;br /&gt;
Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
 &lt;br /&gt;
Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
          &lt;br /&gt;
Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
&lt;br /&gt;
Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
  &lt;br /&gt;
Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
&lt;br /&gt;
Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
&lt;br /&gt;
Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
&lt;br /&gt;
Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Toury and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Toury also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Toury proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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In Descriptive Translation and Beyond, Toury describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Toury, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Toury, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Toury's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
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According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
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Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Toury, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Toury concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Toury believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Toury is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Toury has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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In his study of descriptive translation, Toury emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Toury's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Toury's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
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In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
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The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
&lt;br /&gt;
Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
&lt;br /&gt;
==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.&lt;br /&gt;
&lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。&lt;br /&gt;
&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，并深刻理解描写性翻译研究的地位。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
&lt;br /&gt;
===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
 &lt;br /&gt;
===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
&lt;br /&gt;
Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives have contributed to the formation of diverse translation research methods.（Liao Qiyi 2002，5）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
&lt;br /&gt;
Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of tranlation experience. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the translation study has became more systematic. Some researchers regard translation study as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
&lt;br /&gt;
However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered as &amp;quot;misleading reader&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements on translation theories varied all the time. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation activities. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
&lt;br /&gt;
In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
&lt;br /&gt;
In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
&lt;br /&gt;
In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
&lt;br /&gt;
In 1953, John MacFarlane published his paper ''Mode of Translation'' in the Durhram University Journal. In his thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation, just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that there are often different reading methods when reading the same work even at the same time.From this we can infer that we must not believe that there is a unique translated version. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
&lt;br /&gt;
Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something that it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic. Unfortunately, MacFarlane's views did not attract the attention translation field at that time.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
&lt;br /&gt;
Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and this concept has produced the traditional distinction between literal translation and free translation. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context. Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
&lt;br /&gt;
With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
&lt;br /&gt;
&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
&lt;br /&gt;
He discusses the dialectical relationship among descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text. Based on this, a more extensive comparative study was carried out. After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches.&amp;quot; Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, you have to have at least one intuitive theoretical hypothesis to start studying the other two.&amp;quot;（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot;a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.4 Polysystem Theory====&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundary between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.5 Gideon Toury&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations who are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, thus makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published in his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description. From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications, which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have been often taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.6 Snell-Hornby&lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined，presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types. Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
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====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
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Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
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Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
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(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited by the study of equivalence between texts. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
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However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot;. In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion (translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
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(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;a wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)'' with Li Yeguang and others' translations, and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56) This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
    &lt;br /&gt;
First of all, descriptive translation studies are not perfect yet. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury believes clearly that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)  &lt;br /&gt;
    &lt;br /&gt;
&lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
&lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
&lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
&lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
    &lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6) In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short. There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
    &lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro-analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Reference===&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
&lt;br /&gt;
J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive &lt;br /&gt;
to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
&lt;br /&gt;
==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
 &lt;br /&gt;
Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
==Abstract ==   &lt;br /&gt;
&lt;br /&gt;
Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
&lt;br /&gt;
Key words: translation strategies and translational problems.&lt;br /&gt;
&lt;br /&gt;
This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
&lt;br /&gt;
==Content==&lt;br /&gt;
&lt;br /&gt;
Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
&lt;br /&gt;
The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
&lt;br /&gt;
Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
==&lt;br /&gt;
However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=115663</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=115663"/>
		<updated>2020-12-19T11:48:40Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Abstract */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
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学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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(please add your student number and major)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal and functional equivalence, the former of which pursues the equivalence in form and content and the latter of which  pursues equivalence in function between the two languages. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)&lt;br /&gt;
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===key words===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
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As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but it does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style had not been covered by linguistic theory by then. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, the translator should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.(This paragraph is too long so I divided it into two parts.)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. (Lack of the source)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures. Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Third, if it still doesn’t work after changing the form, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but translators are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.(What’s the meaning of gloss translation?)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between Chinese and English is that Chinese is a parataxis language while English is hypotaxis. That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter is a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.(separate the paragraph)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively , actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. With formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is vivider and easier to understand for the target readers.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Westerners focus more on science and will employ it to account some social phenomena.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example, “Take care. Hope to see you soon.” is a polite and emotional way to express feelings.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings, so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translators’mind but in the following sentence, it doesn’t make sense if they translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
It is obvious to see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese often greet people with “吃了吗?去哪啊?” as Chinese regard food as something that matters much to their life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I have asked Dobbin of ours to come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics, and reasonably infer that it actually means shy.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.(please add the source)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivider description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Theory of functional equivalence and formal equivalence matters a lot and has guided a great deal of translation practices. Though having been developed a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fittest translation.  --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. Translators must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)(Separate the paragraph)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Hao Jingfang's science fiction &amp;quot;Folding Beijing&amp;quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida's functional equivalence to &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the first translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:05, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
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In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information.&lt;br /&gt;
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This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence are achieved.（Zhou Xingyang,2018:11）&lt;br /&gt;
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Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, genre and culture.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. （Zhao Dandan,2011:1）&lt;br /&gt;
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Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,Toward a Science of Translating. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
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In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. （Nida,2004:24） &lt;br /&gt;
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In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows. Dynamic equivalence is defined as the degree to which the receptors of information in the receptor language react to the information in essentially the same way as the receptors in the source language react to the information (Nida, 2004: 24) Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
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Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot; (Nida 1993:118). &lt;br /&gt;
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Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book Language, Culture and Translation, Nida divides functional equivalence into two levels of categories:the minimal level and the maximum level.The minimal level,as a realistic definition of functional equivalence, is defined as &amp;quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
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In order to achieve functional equivalence, the translator must make the translation conform to (1) the context of the source language message, (2) the response of the reader of the recipient language, and (3) the recipient language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes verbal comparison between the original and the target text. Functional equivalence involves the reader's response. If the target language readers' understanding and appreciation of the target language is basically the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader's reaction to translation.（Zhao Dandan,2011:1）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber stated that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of Folding Beijing from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
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Nida and Taber point out that &amp;quot;translation consists in reproducing the closest natural equivalence of source language information in the receptor language, above all in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: word, sentence, and segment, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from the perspectives of lexis, syntax and discourse (Nida, 2004:12).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:（Din Juan,2011:22）&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of Beijing Folding, there are many examples of how the translation can achieve functional equivalence with the original at the lexical level, as follows: (Ding Juan, 2011:22)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
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&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
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&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. &lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, In this way, the translation better expresses the author's intention and conveys what appears to be a bad temper. --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
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&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The author did not translate directly “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to show the original meaning.&lt;br /&gt;
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The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
=====2.1.2 Syntactic Level=====&lt;br /&gt;
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Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. （Din Juan,2011:24）&lt;br /&gt;
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Syntax, as a rule, refers to the study of how to construct sentences correctly with the words in a language. In literary translation, the translator should make the syntax easy to be understood by the readers. Translators should take full account of the syntactic differences between English and Chinese.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.（Din Juan,2011:24）&lt;br /&gt;
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The differences between English and Chinese grammar are mainly reflected in three aspects. First, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress (Ding Juan, 2011: 24).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: （Din Juan,2011:24）&lt;br /&gt;
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In order to achieve functional equivalence with the original, we must not only translate the meaning of the words, but also translate the syntactic structure into the appropriate form. The following are examples of how the English translation of Folding Beijing achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
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&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains what &amp;quot;放开&amp;quot; means.&lt;br /&gt;
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We can see that in the translation of this passage, the translator clearly adjusted the word order, pushing what the same person said before the pause to the next sentence to fit the logic of the English reader.&amp;quot; Selection should also be liberalized&amp;quot; ,the literal translation of this sentence must be incomprehensible to the reader, so the reader adds to this sentence and translates it as &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, the translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
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“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
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In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences, rather than using a subordinate clause like &amp;quot;…childhood that…&amp;quot;.&lt;br /&gt;
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In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using subordinate clause like&amp;quot;... childhood that...&amp;quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
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&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
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In this passage, we can see clearly that English has many more conjunctions than Chinese, such as &amp;quot;as if&amp;quot;, &amp;quot;from where&amp;quot;, &amp;quot;that&amp;quot;, etc. This is because the syntax of the two languages is different.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.1.3 Discourse level=====&lt;br /&gt;
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Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.(Din Juan,2011:27）&lt;br /&gt;
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Nida argues that readers may have difficulty accepting an approximate formal translation due to the intricacies of the discourse structure and the preconceived knowledge of the original content. Therefore, it is necessary to choose a &amp;quot;rewriting&amp;quot; approach to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be comparable to the original text in terms of discourse level. A dialogue from Folding Beijing and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Ding Juan,2011:27)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)&lt;br /&gt;
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“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
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老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
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“可是这等于我也得撒谎。”&lt;br /&gt;
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依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
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Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
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&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
&lt;br /&gt;
Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &amp;quot;spooned a serving of the new hot dish&amp;quot;, the translator changed the action to &amp;quot;spoon&amp;quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, this sentence adds some action to make it more pictorial.&lt;br /&gt;
&lt;br /&gt;
Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translation. The form of the dialogue is not exactly translated from Chinese, but the understanding of the text is the same for the readers. For example, &amp;quot;夹了新上来的热菜&amp;quot; is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
&lt;br /&gt;
Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.2.1 Rhetoric=====&lt;br /&gt;
&lt;br /&gt;
First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.（Din Juan,2011:30）&lt;br /&gt;
&lt;br /&gt;
Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.&lt;br /&gt;
&lt;br /&gt;
In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this paragraph, it is a metaphor, and the words &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated, only translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
&lt;br /&gt;
It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
It has a personification in this paragraph, &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks and arms&amp;quot;, and &amp;quot;like the humblest servants&amp;quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.&lt;br /&gt;
&lt;br /&gt;
This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle.&lt;br /&gt;
&lt;br /&gt;
In this sentence, &amp;quot;怪胎&amp;quot; is translated as &amp;quot;monster&amp;quot; and &amp;quot;born&amp;quot; conveys the same meaning, so the translator did not have any trouble.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Dialects=====&lt;br /&gt;
&lt;br /&gt;
Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.（Din Juan,2011:33）&lt;br /&gt;
&lt;br /&gt;
The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem. (Dingjuan, 2011:33)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
&lt;br /&gt;
In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.&lt;br /&gt;
&lt;br /&gt;
In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
&lt;br /&gt;
In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture,  folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.（Zhou Xingyang,2018:47）&lt;br /&gt;
&lt;br /&gt;
Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of Folding Beijing from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
=====2.3.1 Food Culture=====&lt;br /&gt;
&lt;br /&gt;
The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.（Din Juan,2011:39）&lt;br /&gt;
&lt;br /&gt;
The city described in  Folding Beijing is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot;is a well-known traditional snack in China. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. Translators translate it as &amp;quot;chow mein&amp;quot; instead of &amp;quot;Chinese chow mein&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means Chinese-style fried noodles with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The foreignizing translation is adopted here, &amp;quot;白酒&amp;quot; is translated into &amp;quot;baijiu&amp;quot; , the translator doesn't use the word like &amp;quot;spirits&amp;quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.&lt;br /&gt;
&lt;br /&gt;
Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.（Zhou Xingyang,2018:53）&lt;br /&gt;
&lt;br /&gt;
The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator has captured this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
=====2.3.2 Folk Culture=====&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique lifestyles, customs, behavior patterns, etc. in terms of vocabulary. The following will analyze the functional equivalence of translation in folk culture. (Zhou Xingyang,2018:52).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the boy's poverty. The translator takes into account the differences between Chinese and Western cultures, where Westerners behave differently, so he uses the word &amp;quot;sharing&amp;quot; and adds the word &amp;quot;family style&amp;quot; to make it easier for the reader to understand this behavior.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word so that readers can understand it easily.&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is one of the major characteristics of Chinese culture. People from the same hometown share similar living habits, upbringing and cultural background, so even strangers can get acquainted quickly and even help each other. Since Lao Ge and Lao Dao are from the third dimension, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective.&amp;quot; 管事儿&amp;quot; means to have some authority. The translator also explains this word to make it easy for readers to understand.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &amp;quot;心意&amp;quot; means money, which is an euphemism used in China when it is inconvenient to offer money directly. In translation, the translator also considered an euphemistic way of expression, so he used the word &amp;quot;appreciation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.3.3 Culture of Idioms=====&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the vast and profound Chinese culture. Chinese people use these idioms in their daily life and writing, but some idioms sometimes have different meanings in different contexts. However, some idioms sometimes have different meanings in different contexts, and it is important to pay attention to the differences between the two cultures when translating them.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, the translator translated it into &amp;quot;ate heartily&amp;quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers.&lt;br /&gt;
&lt;br /&gt;
The author uses many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;to eat in a heartbeat&amp;quot;. Although the translation is easy to understand, without the image of a person eating very hungry, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot;translated into &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; translated into &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;(盘子)一片狼藉&amp;quot; is translated as &amp;quot;the plate is a mess&amp;quot;, which is a description of a messy situation on the plate. And &amp;quot;the beauty of adulthood&amp;quot; is translated as &amp;quot;in that case, I am doing a good deed by keeping quiet&amp;quot;, the idiom in the original text was originally used to describe how Lao Dao felt that he kept the secret that Yi Yan and Qin Tian might be together in the future. The translator translated the phrase abstractly into the English translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
The English translation of Folding Beijing is analyzed from three aspects of meaning, style, and culture using this paper's functional equivalence theory, and it is concluded that the English translation meets the English readers' understanding of the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and reciprocal Chinese translation of Folding Beijing for English readers. (Zhou Xingyang,2018:56)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyze from three aspects: meaning, style and culture &amp;quot;Folding Beijing&amp;quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western cultures, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words.&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
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In some specific contents, the translators do not translate into exactly the same form, which is also in line with Nida's theory of functional equivalence, because Nida also suggests that translation should not be limited to form, and the translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original, which may be an area for improvement. Nida's functional equivalence theory does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
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Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
&lt;br /&gt;
Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
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==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.  &lt;br /&gt;
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''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.  --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
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“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
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Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
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The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
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American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
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The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
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In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
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The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
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Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
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Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
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Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
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Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
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Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
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Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
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The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
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Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
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He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
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So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
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“Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
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“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
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Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
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It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
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In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
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Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
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In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
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Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
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In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
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“There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
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 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
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(1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
   亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
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In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
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(2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
   蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
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Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
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An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting &lt;br /&gt;
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======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
&lt;br /&gt;
Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen 202020080603==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
&lt;br /&gt;
===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
&lt;br /&gt;
The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
&lt;br /&gt;
The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
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The first is the implied meaning(implictit), which means that the speaker actually wants to experess the meaning: the second is explicit, which the speaker actually says content.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
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Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
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The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
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understanding: the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and though contend to be expressed, this stage is called interpretation of discourse. --[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
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The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
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In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
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===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
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There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
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Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
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===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
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The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
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Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
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First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures  陈佳欣	Chen Jiaxin 202020080593==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
The “article” would better to be “paper”  The “problem” would better to be “ disputation” or “controversy”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 09:45, 19 December 2020 (UTC)&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
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====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). &lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
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Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
&lt;br /&gt;
Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
&lt;br /&gt;
Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
&lt;br /&gt;
Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
&lt;br /&gt;
Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
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Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
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WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi 202020080598 比较文学与跨文化研究==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则&lt;br /&gt;
&lt;br /&gt;
安德烈·勒菲弗尔;《翻译，历史和文化论集》; 刘宓庆;《中西翻译思想对比研究》;文化转向;约翰·德莱登;翻译原则--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 11:34, 19 December 2020 (UTC)&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
&lt;br /&gt;
In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden's comparison of the translator and slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of Western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:56, 18 December 2020 (UTC)&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
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===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. &lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
&lt;br /&gt;
The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
&lt;br /&gt;
I enjoy reading this book because it brings us and those aloof and remarkable scholars more closer. After reading their original words, they seem to appear fresh before our eyes and narrate their feelings of being translators to us themselves. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105)&lt;br /&gt;
&lt;br /&gt;
In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:56, 19 December 2020 (UTC)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden argued that when it comes to metaphrase, the translator is encumbered with many difficulties: not only should he consider the thought of his author, his word, and finding out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:42, 19 December 2020 (UTC)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argued that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014) &lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars such as Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
&lt;br /&gt;
About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
&lt;br /&gt;
About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
&lt;br /&gt;
In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
&lt;br /&gt;
Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
&lt;br /&gt;
The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
&lt;br /&gt;
He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
&lt;br /&gt;
The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
&lt;br /&gt;
Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
&lt;br /&gt;
Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
&lt;br /&gt;
The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
&lt;br /&gt;
However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
&lt;br /&gt;
However, he also recognized that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Finally, Liu points out that western translation theory is &amp;quot;technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
&lt;br /&gt;
Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the superficial, assertive and rational current views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
&lt;br /&gt;
Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
&lt;br /&gt;
Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
&lt;br /&gt;
Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread throughtout China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
&lt;br /&gt;
In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
&lt;br /&gt;
In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features change from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
&lt;br /&gt;
As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
&lt;br /&gt;
The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
&lt;br /&gt;
The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
&lt;br /&gt;
Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15) Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
&lt;br /&gt;
Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:51, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
&lt;br /&gt;
Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
&lt;br /&gt;
Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argued that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
&lt;br /&gt;
===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
&lt;br /&gt;
===4.2 From the aspect of the arrangement===&lt;br /&gt;
Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.&lt;br /&gt;
&lt;br /&gt;
Both of the two books are arranged in a theme way rather than a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation plays in education, and the translating technique. Liu arranges his book differently for the longer essays are collected in the last chapter.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:07, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.&lt;br /&gt;
&lt;br /&gt;
Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includes the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which help the readers to better understand the translation principles.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.&lt;br /&gt;
&lt;br /&gt;
In conclusion, the paper intends to help readers to have a profound understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of translator to slave as well as the figuring out of the reason of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:37, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
&lt;br /&gt;
André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
&lt;br /&gt;
Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
&lt;br /&gt;
Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
&lt;br /&gt;
Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
&lt;br /&gt;
Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
&lt;br /&gt;
Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
&lt;br /&gt;
Ancient Translation Period&lt;br /&gt;
&lt;br /&gt;
The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
&lt;br /&gt;
Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
&lt;br /&gt;
A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
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(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
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Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
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Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
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Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
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Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
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===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
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Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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 Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
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===Analysis of Theoretical Research Status===&lt;br /&gt;
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Descriptive Analysis of Translation Theory Research&lt;br /&gt;
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First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
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The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
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First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
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Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
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===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
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Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645==&lt;br /&gt;
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                                                吴子佳	Wu Zijia  202070080645&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
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For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
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For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 11&lt;br /&gt;
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我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
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&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:00, 19 December 2020 (UTC)&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.(quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. (quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.(J.A Catford , 1965)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Holmes published ''The Name and Nature of Translation Studies'' at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.( James Holmes,1975)&lt;br /&gt;
&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.(Wolfram Wilss, 1982)&lt;br /&gt;
&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.( Peter Newmark, 1981)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.(Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.(Christiane Nord, 1997)&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.(Mona Baker, 2006)&lt;br /&gt;
&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.(Dong Qiusi, 1951)&lt;br /&gt;
&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.(Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
&lt;br /&gt;
Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong X&lt;br /&gt;
iangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.(Yi Jing, 2009)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.(Zou Bing and Mu Lei, 2020) &lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition.(Wang Yin,2017)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.(Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.（Yang Zijian，1993）&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995）&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.( Kong Xiangli,2009)&lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies. (Liu Zhongde,1989)&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.(Yi Jing,2009)&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei ect. (Yi Jing,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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'''3.2.2 The awareness of an independent academic discipline'''--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.(Tan Zaixi, 1987 )&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
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Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.(Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
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Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.(Zou Bin, Mu Lei,2020 )&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.(Yi Jing, 2009 )&lt;br /&gt;
&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)&lt;br /&gt;
&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.(Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.(Kong Xiangli，2009 )&lt;br /&gt;
&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.4.2 Discipline structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.(Yang Zijian,1993)&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot;  Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.(Liu Miqing, 1989)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.&lt;br /&gt;
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Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''&lt;br /&gt;
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Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.&lt;br /&gt;
&lt;br /&gt;
Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.&lt;br /&gt;
&lt;br /&gt;
Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp;amp; Arts] 35-41.&lt;br /&gt;
&lt;br /&gt;
Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].&lt;br /&gt;
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Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.&lt;br /&gt;
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Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.&lt;br /&gt;
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Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.&lt;br /&gt;
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Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.&lt;br /&gt;
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O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.&lt;br /&gt;
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Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
&lt;br /&gt;
Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
&lt;br /&gt;
Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
&lt;br /&gt;
Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
&lt;br /&gt;
Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
&lt;br /&gt;
Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Translation Studies, translation education, translation talents&lt;br /&gt;
&lt;br /&gt;
==='''题目'''===&lt;br /&gt;
&lt;br /&gt;
对中国翻译学学习的反思&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。&lt;br /&gt;
&lt;br /&gt;
随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:36, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''=== &lt;br /&gt;
&lt;br /&gt;
翻译学，翻译教育，翻译人才&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''1. Introduction'''===&lt;br /&gt;
&lt;br /&gt;
1.1. The Connotation of Translation Studies&lt;br /&gt;
&lt;br /&gt;
Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;''The Name and Nature of Translation Studies''&amp;quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
&lt;br /&gt;
Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
&lt;br /&gt;
Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
&lt;br /&gt;
Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
&lt;br /&gt;
1.1. The Connotation of Translation Studies&lt;br /&gt;
Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
&lt;br /&gt;
Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
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Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
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Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:49, 19 December 2020 (UTC)&lt;br /&gt;
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1.2. The Significance of Translation Studies&lt;br /&gt;
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With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. &lt;br /&gt;
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As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
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Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
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1.2. The Significance of Translation Studies&lt;br /&gt;
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With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
&lt;br /&gt;
As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
&lt;br /&gt;
Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:45, 19 December 2020 (UTC)&lt;br /&gt;
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==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
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Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.&lt;br /&gt;
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Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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2.1. The Exploration Period of Translation Studies &lt;br /&gt;
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In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
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In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
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The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.&lt;br /&gt;
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The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.&lt;br /&gt;
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However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
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At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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2.2. The Development Period of Translation Studies&lt;br /&gt;
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At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
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At the beginning of this period, translation studies was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &amp;quot;''China Translator''&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) &lt;br /&gt;
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2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
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In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) &lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.（quotation missing）&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
&lt;br /&gt;
The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1. Translation Education&lt;br /&gt;
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With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019) &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC) &lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare.（Ou Yonghua 2019） &lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.2.2. Insufficient background knowledge &lt;br /&gt;
&lt;br /&gt;
Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. &lt;br /&gt;
&lt;br /&gt;
Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
&lt;br /&gt;
3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
&lt;br /&gt;
At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
&lt;br /&gt;
At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
&lt;br /&gt;
In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.&lt;br /&gt;
&lt;br /&gt;
In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.1. Translation Education&lt;br /&gt;
&lt;br /&gt;
4.1.1. Improve Teaching Mode&lt;br /&gt;
&lt;br /&gt;
The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. (Wang Baigula 2018)&lt;br /&gt;
&lt;br /&gt;
The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
&lt;br /&gt;
Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) &lt;br /&gt;
&lt;br /&gt;
The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.1.2. Strengthen Faculty Force&lt;br /&gt;
&lt;br /&gt;
Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
&lt;br /&gt;
Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） &lt;br /&gt;
&lt;br /&gt;
Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
&lt;br /&gt;
4.1.3. Broaden the academic vision of translation&lt;br /&gt;
&lt;br /&gt;
Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of roadmap for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
&lt;br /&gt;
Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
&lt;br /&gt;
The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
&lt;br /&gt;
4.2. Students &lt;br /&gt;
&lt;br /&gt;
The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
&lt;br /&gt;
Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.2.1. Expanding knowledge&lt;br /&gt;
&lt;br /&gt;
Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) &lt;br /&gt;
&lt;br /&gt;
Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
&lt;br /&gt;
A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.2.2. Emphasize theory and practice more&lt;br /&gt;
&lt;br /&gt;
Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
&lt;br /&gt;
Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
&lt;br /&gt;
This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
&lt;br /&gt;
President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
&lt;br /&gt;
President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.&lt;br /&gt;
&lt;br /&gt;
Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hope that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.&lt;br /&gt;
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Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.&lt;br /&gt;
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Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].&lt;br /&gt;
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Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.&lt;br /&gt;
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Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.&lt;br /&gt;
&lt;br /&gt;
Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. &lt;br /&gt;
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Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16&lt;br /&gt;
&lt;br /&gt;
Linlin.林琳.(2016).英语文学翻译学习现状及改善措施.[ The Status Quo and Improvement Measures of English Literature Translation Learning].西部素质教育[''Western China Quality Education''] 65.&lt;br /&gt;
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Luo Feng.罗峰.(2011).从翻译学学科建设看翻译学在中国的发展.[On the Development of Translation Studies As A Discipline in China].琼州学院学报[''Journal of Qiongzhou University]''115-116.&lt;br /&gt;
&lt;br /&gt;
Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.&lt;br /&gt;
&lt;br /&gt;
Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.&lt;br /&gt;
&lt;br /&gt;
Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].&lt;br /&gt;
&lt;br /&gt;
Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. &lt;br /&gt;
&lt;br /&gt;
Xu Jun, Mu Lei. 许钧, 穆雷.(2009).中国翻译学研究30年 (1978 -2007).[30 years of Chinese Translation Studies (1978 -2007)].外国语[''Journal of Foreign Languages'']77-87.&lt;br /&gt;
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Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.&lt;br /&gt;
&lt;br /&gt;
Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.&lt;br /&gt;
&lt;br /&gt;
Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.&lt;br /&gt;
&lt;br /&gt;
Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
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===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 14:49, 18 December 2020 (UTC)&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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(While your first quote here may be intended to explain to the reader where the concept of cultural identity came from, I suggest you explain the meaning of the concept proposed by the cited author.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
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（Be clear about what exactly domestication or foreignization in your text means and who defines it. Use word “domestication” instead of “naturalization”in general.）--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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====Foreignization and domestication Strategies====&lt;br /&gt;
According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
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According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
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The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
(Here you used foreignization ,but above the paper,you use alienation,The specific concepts of context should be unified.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
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Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
(Here world literature is not very accurate, maybe you can say world translation)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &amp;quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's love for Shakespeare is so strong that &amp;quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. &lt;br /&gt;
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The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
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In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
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Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;the highest art only a few people can understand ......, literature and art is not the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
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Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
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When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
(Here maybe you want to say Irving Babbitt not Byrd, plz check it again)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
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====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.&lt;br /&gt;
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Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)&lt;br /&gt;
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For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
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EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
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This man hath my consent to marry her．&lt;br /&gt;
是我答应把我女儿嫁给他的&lt;br /&gt;
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Stand forth，Lysander．&lt;br /&gt;
走上前来，拉山德。&lt;br /&gt;
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And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
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In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
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拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
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Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
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First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
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LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
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Translation of Liang Shiqiu:&lt;br /&gt;
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赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
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否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
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HELENA She was a vixen when she went toschool: &lt;br /&gt;
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And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
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海 上学时她就是个狐狸精。&lt;br /&gt;
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她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
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Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
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For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
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Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
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The translation of Liang Shiqiu：&lt;br /&gt;
(You can say Liang’s version :)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
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For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
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By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
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===References===&lt;br /&gt;
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Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
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Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
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Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
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Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
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Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
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Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
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Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
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Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
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Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
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Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
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Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
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Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
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Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
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Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Toury's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
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===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
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===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
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Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
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According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 11:30, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
&lt;br /&gt;
Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
&lt;br /&gt;
Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
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==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655&amp;lt;/center&amp;gt;&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.&lt;br /&gt;
&lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。&lt;br /&gt;
&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，并深刻理解描写性翻译研究的地位。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
&lt;br /&gt;
Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives have contributed to the formation of diverse translation research methods.（Liao Qiyi 2002，5）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
&lt;br /&gt;
Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of tranlation experience. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the translation study has became more systematic. Some researchers regard translation study as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered as &amp;quot;misleading reader&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements on translation theories varied all the time. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation activities. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the Durhram University Journal. In his thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation, just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that there are often different reading methods when reading the same work even at the same time.From this we can infer that we must not believe that there is a unique translated version. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something that it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic. Unfortunately, MacFarlane's views did not attract the attention translation field at that time.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and this concept has produced the traditional distinction between literal translation and free translation. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context. Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
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He discusses the dialectical relationship among descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text. Based on this, a more extensive comparative study was carried out. After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches.&amp;quot; Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, you have to have at least one intuitive theoretical hypothesis to start studying the other two.&amp;quot;（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot;a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.4 Polysystem Theory====&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundary between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.5 Gideon Toury&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations who are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, thus makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published in his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description. From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications, which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have been often taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.6 Snell-Hornby&lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined，presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types. Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
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====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
&lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
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Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited by the study of equivalence between texts. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
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However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot;. In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion (translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
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(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;a wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)'' with Li Yeguang and others' translations, and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56) This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
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First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
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First of all, descriptive translation studies are not perfect yet. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
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Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury believes clearly that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)  &lt;br /&gt;
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This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
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This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
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On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
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In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
    &lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
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The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6) In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 4 Conclusion=== &lt;br /&gt;
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Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short. There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
    &lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
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Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro-analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 5 Reference===&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
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J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
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Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive &lt;br /&gt;
to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
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Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
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==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
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Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
==Abstract ==   &lt;br /&gt;
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Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
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Key words: translation strategies and translational problems.&lt;br /&gt;
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This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
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==Content==&lt;br /&gt;
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Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
&lt;br /&gt;
The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
&lt;br /&gt;
Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
==&lt;br /&gt;
However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=115649</id>
		<title>20201215 cultexam 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=115649"/>
		<updated>2020-12-19T11:39:09Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 */&lt;/p&gt;
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&lt;div&gt;*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei];  [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.&lt;br /&gt;
&lt;br /&gt;
'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
==Chinese Astrology - Alsied, Saffana==&lt;br /&gt;
&amp;quot;Chinese Astrology&amp;quot;--[[User:SAFFANA ALSIED ,Student No:......... Major...........&lt;br /&gt;
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===The History===&lt;br /&gt;
&lt;br /&gt;
So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the  source is coming from ?&lt;br /&gt;
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===The Five Elements And YIN/YANG===&lt;br /&gt;
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Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation  please?&lt;br /&gt;
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A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?&lt;br /&gt;
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===THE FORCES OF YIN / YANG===&lt;br /&gt;
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Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.&lt;br /&gt;
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A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?&lt;br /&gt;
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Chinese astrology was invented to achieve the two following goals;&lt;br /&gt;
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1.)  To predict the future,&lt;br /&gt;
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2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. &lt;br /&gt;
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According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?&lt;br /&gt;
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Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?&lt;br /&gt;
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The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?&lt;br /&gt;
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You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Astrology 中国占星学&lt;br /&gt;
&lt;br /&gt;
2. Chinese Zodiac 中国十二生肖&lt;br /&gt;
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3. Agricultural calendar 农业日历&lt;br /&gt;
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4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）&lt;br /&gt;
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5. The Oriental philosophy 东方哲学&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1-Why was Chinese astrology invented?&lt;br /&gt;
&lt;br /&gt;
2-How Chinese astrology relates to a person’s divine destiny?&lt;br /&gt;
&lt;br /&gt;
3-What important role does the Chinese zodiac play in Chinese culture?&lt;br /&gt;
&lt;br /&gt;
4- What is Chinese astrology based on?&lt;br /&gt;
&lt;br /&gt;
5-Is Chinese astrology accurate?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.&lt;br /&gt;
&lt;br /&gt;
2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.&lt;br /&gt;
&lt;br /&gt;
3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.&lt;br /&gt;
&lt;br /&gt;
4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.&lt;br /&gt;
&lt;br /&gt;
5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9&lt;br /&gt;
&lt;br /&gt;
何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591&lt;br /&gt;
&lt;br /&gt;
Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.&lt;br /&gt;
&lt;br /&gt;
Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;&amp;quot;Almanac&amp;quot; &amp;quot;lunar&amp;quot; zodiac beginning of spring as the boundary dislocation? — China Network&amp;quot;. 16 February 2009. Retrieved 5 January 2011.&lt;br /&gt;
&lt;br /&gt;
Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Five Elements(Wu Xing)&amp;quot;. YourChineseAstrology.com&lt;br /&gt;
&lt;br /&gt;
==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==&lt;br /&gt;
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Spring Festival Couplets===&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).&lt;br /&gt;
&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. Pasting the Spring Festival Couplets on gateposts or doors is one of the most common and important customs when Chinese People celebrate Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China. With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)&lt;br /&gt;
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Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).&lt;br /&gt;
&lt;br /&gt;
Spring Couplets originated from Taofu, an inscription on boards made of peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).&lt;br /&gt;
&lt;br /&gt;
The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).&lt;br /&gt;
&lt;br /&gt;
There are rules not only for pasting the couplets, but also for how to remove them, and these traditions vary in different areas of China. In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 10:43, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.&lt;br /&gt;
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.&lt;br /&gt;
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.&lt;br /&gt;
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions ===&lt;br /&gt;
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 &lt;br /&gt;
&lt;br /&gt;
Paste 贴&lt;br /&gt;
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Horizontal scroll 横联&lt;br /&gt;
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Upper scroll 上联&lt;br /&gt;
&lt;br /&gt;
Lower scroll 下联&lt;br /&gt;
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===Questions ===&lt;br /&gt;
1.What’s the purpose of pasting Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
2.What’s the historical origin of Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
3.How to read the Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
4.How to do with the Old Couplets?&lt;br /&gt;
&lt;br /&gt;
===Answers ===&lt;br /&gt;
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
&lt;br /&gt;
2.It  originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.&lt;br /&gt;
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3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. &lt;br /&gt;
&lt;br /&gt;
4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.&lt;br /&gt;
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==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==&lt;br /&gt;
&lt;br /&gt;
[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]&lt;br /&gt;
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===Guzheng===&lt;br /&gt;
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''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.&lt;br /&gt;
&lt;br /&gt;
''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments.As early as 2500 years ago, ''zheng'' became an important instrument and was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).&lt;br /&gt;
&lt;br /&gt;
There are different opinions about how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)&lt;br /&gt;
&lt;br /&gt;
The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were oiginally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is about a rectangle, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;amp;z=0&amp;amp;ipn=d&amp;amp;word=古筝&amp;amp;step_word=&amp;amp;hs=0&amp;amp;pn=27&amp;amp;spn=0&amp;amp;di=9900&amp;amp;pi=0&amp;amp;rn=1&amp;amp;tn=baiduimagedetail&amp;amp;is=0%2C0&amp;amp;istype=2&amp;amp;ie=utf-8&amp;amp;oe=utf-8&amp;amp;in=&amp;amp;cl=2&amp;amp;lm=-1&amp;amp;st=-1&amp;amp;cs=3246661627%2C3658564396&amp;amp;os=3335747328%2C3552694810&amp;amp;simid=0%2C0&amp;amp;adpicid=0&amp;amp;lpn=0&amp;amp;ln=1718&amp;amp;fr=&amp;amp;fmq=1607348039297_R&amp;amp;fm=result&amp;amp;ic=&amp;amp;s=undefined&amp;amp;hd=&amp;amp;latest=&amp;amp;copyright=&amp;amp;se=&amp;amp;sme=&amp;amp;tab=0&amp;amp;width=&amp;amp;height=&amp;amp;face=undefined&amp;amp;ist=&amp;amp;jit=&amp;amp;cg=&amp;amp;bdtype=0&amp;amp;oriquery=&amp;amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;amp;gsm=1c&amp;amp;rpstart=0&amp;amp;rpnum=0&amp;amp;islist=&amp;amp;querylist=&amp;amp;force=undefined]for original source.]]&lt;br /&gt;
&lt;br /&gt;
The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)&lt;br /&gt;
&lt;br /&gt;
The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made from materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the strings to the left of the bridges. (Gao Yiwei 2020, 39)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)&lt;br /&gt;
&lt;br /&gt;
Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)&lt;br /&gt;
&lt;br /&gt;
In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.&lt;br /&gt;
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.&lt;br /&gt;
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. &lt;br /&gt;
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.&lt;br /&gt;
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.&lt;br /&gt;
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.&lt;br /&gt;
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
*Meng Tian 蒙恬 &lt;br /&gt;
*Zhao Lin 赵璘&lt;br /&gt;
*''Records on Words'' 《因话录》&lt;br /&gt;
*anterior mountain 前岳山 &lt;br /&gt;
*posterior mountain 后岳山&lt;br /&gt;
*''Yan Zhu'' 雁柱 &lt;br /&gt;
*string pegs 弦钉&lt;br /&gt;
*turning box 调音盒 &lt;br /&gt;
*zither feet 琴足&lt;br /&gt;
*paulownia 桐木 &lt;br /&gt;
*mahogany 红木&lt;br /&gt;
*''Dai Mao'' 玳瑁&lt;br /&gt;
*''Yi Jia'' 义甲&lt;br /&gt;
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹&lt;br /&gt;
*''High Mountains and Running Water'' 《高山流水》&lt;br /&gt;
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》&lt;br /&gt;
*''Jackdaw Playing in the Water'' 《寒鸦戏水》&lt;br /&gt;
*''The Tune of Liu Qing Niang'' 《柳青娘》&lt;br /&gt;
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香&lt;br /&gt;
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望&lt;br /&gt;
*''National Music Ceremony'' 《国乐大典》&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What kind of musical instrument does the ''guzheng'' belong to?&lt;br /&gt;
&lt;br /&gt;
2. Why the ''guzheng'' is deeply loved by Chinese? &lt;br /&gt;
&lt;br /&gt;
3. Who is Meng Tian? &lt;br /&gt;
&lt;br /&gt;
4. According to the legend, how did the ''se'' develop into the ''zheng''?&lt;br /&gt;
&lt;br /&gt;
5. How many strings does the ''guzheng'' have? How long is the guzheng?&lt;br /&gt;
&lt;br /&gt;
6. What is the function of movable bridges?&lt;br /&gt;
&lt;br /&gt;
7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? &lt;br /&gt;
&lt;br /&gt;
8. In ancient times, what materials were the fingerpicks made of?&lt;br /&gt;
&lt;br /&gt;
9. Generally speaking, how does the players strike notes? &lt;br /&gt;
&lt;br /&gt;
10. What styles can ''guzheng'' be divided into?&lt;br /&gt;
&lt;br /&gt;
11. Which school does ''The Autumn Moon in the Han Palace'' belong to? &lt;br /&gt;
&lt;br /&gt;
12. Do you know any other ''guzheng'' music? Please list some pieces.&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It belongs to plucked stringed instruments.&lt;br /&gt;
&lt;br /&gt;
2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. &lt;br /&gt;
&lt;br /&gt;
3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.&lt;br /&gt;
&lt;br /&gt;
4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. &lt;br /&gt;
&lt;br /&gt;
5. It usually has 21 strings and is 163 centimeters long. &lt;br /&gt;
&lt;br /&gt;
6. They are moved to change the timbres.&lt;br /&gt;
&lt;br /&gt;
7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.&lt;br /&gt;
&lt;br /&gt;
8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.&lt;br /&gt;
&lt;br /&gt;
9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. &lt;br /&gt;
&lt;br /&gt;
10. The Northern school and the Southern school.&lt;br /&gt;
&lt;br /&gt;
11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.&lt;br /&gt;
&lt;br /&gt;
12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).&lt;br /&gt;
&lt;br /&gt;
==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581. Major:.........&lt;br /&gt;
===Facial makeup===&lt;br /&gt;
&lt;br /&gt;
Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62) （seperate the paragraph --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 14:53, 17 December 2020 (UTC)）&lt;br /&gt;
&lt;br /&gt;
Facial makeup, a sort of makeup art used in stage performance, is painted on the faces of traditional opera singers in China and varies when it comes to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with strict moral codes; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:13, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)&lt;br /&gt;
&lt;br /&gt;
People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous, good-looking and was bound to win every battle in which he worn a mask that seemed frightening. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.( I think the military service and merits maybe inappropriate here, please replace them with better words)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:34, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)&lt;br /&gt;
&lt;br /&gt;
The legendary drama played a dominant role in Ming Dynasty, which is rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brows and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in facial makeup of jing. (The meaning of “ The pattern ratio has changed as well” is vague, please detail it.)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 10:04, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Red&lt;br /&gt;
&lt;br /&gt;
Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.&lt;br /&gt;
&lt;br /&gt;
Black&lt;br /&gt;
&lt;br /&gt;
Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.&lt;br /&gt;
&lt;br /&gt;
Black facial makeup gives people the impression that the actor is serious, and rarely smile and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 10:04, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
White&lt;br /&gt;
&lt;br /&gt;
White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.&lt;br /&gt;
&lt;br /&gt;
White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:28, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Blue&lt;br /&gt;
&lt;br /&gt;
Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.&lt;br /&gt;
&lt;br /&gt;
Purple&lt;br /&gt;
&lt;br /&gt;
Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.&lt;br /&gt;
&lt;br /&gt;
Golden&lt;br /&gt;
&lt;br /&gt;
Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
&lt;br /&gt;
Golden facial makeup symbolizes dignity and power fitting roles like supernatural beings such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
&lt;br /&gt;
The features of facial makeup are mainly as follows:&lt;br /&gt;
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)&lt;br /&gt;
&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese start to explore the mystery of it.(Cao Juan, 2019, 61)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:28, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
painted face 花脸&lt;br /&gt;
&lt;br /&gt;
clown 丑角&lt;br /&gt;
&lt;br /&gt;
Sheng 生&lt;br /&gt;
&lt;br /&gt;
Dan 旦&lt;br /&gt;
&lt;br /&gt;
Jing 净&lt;br /&gt;
&lt;br /&gt;
Chou 丑&lt;br /&gt;
&lt;br /&gt;
Qingyi 青衣&lt;br /&gt;
&lt;br /&gt;
xiaosheng 小生&lt;br /&gt;
&lt;br /&gt;
laosheng 老生&lt;br /&gt;
&lt;br /&gt;
wusheng 武生&lt;br /&gt;
&lt;br /&gt;
Gao Changgong 高长恭&lt;br /&gt;
&lt;br /&gt;
legend，romance 传奇剧&lt;br /&gt;
&lt;br /&gt;
Erlang Shen, Erlang 二郎神&lt;br /&gt;
&lt;br /&gt;
Tathagata, Buddha 如来佛&lt;br /&gt;
&lt;br /&gt;
Sakyamuni 释迦牟尼&lt;br /&gt;
&lt;br /&gt;
Water Margin of the Marsh 水浒传&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1.How many types are character roles divided into in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
2.What are the differences bbetween Sheng and Dan?&lt;br /&gt;
&lt;br /&gt;
3.What are the special features of Chou?&lt;br /&gt;
&lt;br /&gt;
4.What is the function of facial mask in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
5.What are the main features of facial makeup?&lt;br /&gt;
&lt;br /&gt;
6.What are the characteristics of characters wearing blue facial makeup?&lt;br /&gt;
===Answers===&lt;br /&gt;
1.Four types:Sheng, Dan, Jing and Chou.&lt;br /&gt;
&lt;br /&gt;
2.Sheng refers to male roles while Dan refers to female roles.&lt;br /&gt;
&lt;br /&gt;
3.A patch of white powder is wiped on their nose.&lt;br /&gt;
&lt;br /&gt;
4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. &lt;br /&gt;
&lt;br /&gt;
5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.&lt;br /&gt;
&lt;br /&gt;
6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.&lt;br /&gt;
&lt;br /&gt;
Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.&lt;br /&gt;
&lt;br /&gt;
Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.&lt;br /&gt;
&lt;br /&gt;
==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==&lt;br /&gt;
&lt;br /&gt;
=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.&lt;br /&gt;
&lt;br /&gt;
====1.Liu Cixin（刘慈欣）====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)&lt;br /&gt;
&lt;br /&gt;
Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. &lt;br /&gt;
&lt;br /&gt;
Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &amp;quot;Supernova Era&amp;quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)&lt;br /&gt;
&lt;br /&gt;
Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy &amp;quot;Memory of the Earth's Past&amp;quot; - the novel &amp;quot;The Problem of Three Bodies&amp;quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &amp;quot;The Three-Body Problem,&amp;quot; although this is not formally true.&lt;br /&gt;
&lt;br /&gt;
Interesting fact: Such famous people as Barack Obama and Mark Zuckerberg called this book the best and recommended it for everyone to read.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.&lt;br /&gt;
&lt;br /&gt;
Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.&lt;br /&gt;
&lt;br /&gt;
In this section, I would recommend adding authors whose books Liu Cixin recommends reading.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.Chen Qiufan (陈楸帆） ====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.&lt;br /&gt;
&lt;br /&gt;
Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.&lt;br /&gt;
&lt;br /&gt;
His debut book was ''The Empty Wave'', &amp;quot;combining realism and allegory to represent the hybridity of humans and machines.&amp;quot; Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian.&lt;br /&gt;
 &lt;br /&gt;
His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.&lt;br /&gt;
&lt;br /&gt;
An interesting fact that can also be added: In a year he watches about 100 films and reads 50 books in any way related to science fiction and Cyberpunk.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3.Rebecca F. Kuang (匡蘦秀)====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.&lt;br /&gt;
&lt;br /&gt;
Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.&lt;br /&gt;
&lt;br /&gt;
Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.&lt;br /&gt;
&lt;br /&gt;
Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.&lt;br /&gt;
&lt;br /&gt;
I also suggest adding that she has been involved in several new projects at the moment, such as the well-known Star Wars. Can you write something about this?--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Don't forget to add sources at the end of each paragraph.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Science fiction - 科幻&lt;br /&gt;
&lt;br /&gt;
2. Fantasy - 奇幻&lt;br /&gt;
&lt;br /&gt;
3. Horizon - 地平线&lt;br /&gt;
&lt;br /&gt;
4. Broad - 拓宽&lt;br /&gt;
&lt;br /&gt;
5. Hybrid - 杂种&lt;br /&gt;
&lt;br /&gt;
6. The plot - 情节&lt;br /&gt;
&lt;br /&gt;
7. Garbage - 垃圾堆&lt;br /&gt;
&lt;br /&gt;
8. Heyday - 壮年&lt;br /&gt;
&lt;br /&gt;
9. Supernova - 超新星&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What was the first book written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
2. What is the most popular trilogy of books written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
3. Who is called Chinese William Gibson?&lt;br /&gt;
&lt;br /&gt;
4. What is Rebecca Quang's Opium War plot based on?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Supernova Era&lt;br /&gt;
&lt;br /&gt;
2. Memory of the Earth's Past&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan (陈楸帆）&lt;br /&gt;
&lt;br /&gt;
4. The plot is largely based on the history of China in the middle of the 20th century.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html&lt;br /&gt;
&lt;br /&gt;
2. Liu Cixin, Supernova Era, 2019. 352 pp.&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan, Waste Tide, 2019. 342 pp.&lt;br /&gt;
&lt;br /&gt;
4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.&lt;br /&gt;
&lt;br /&gt;
==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==&lt;br /&gt;
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;Chen Yongxiang 陈永相 英语笔译 202070080582&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
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Stilt is one of the folk dances of the Han nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)&lt;br /&gt;
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Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)&lt;br /&gt;
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As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)&lt;br /&gt;
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The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)&lt;br /&gt;
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The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)&lt;br /&gt;
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The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)&lt;br /&gt;
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Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)&lt;br /&gt;
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Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)&lt;br /&gt;
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There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
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Miliangtun (village name) 米粮屯&lt;br /&gt;
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stilts 高跷&lt;br /&gt;
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intangible cultural heritage 非物质文化遗产&lt;br /&gt;
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folk dance 民间舞蹈&lt;br /&gt;
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Toutou 陀头&lt;br /&gt;
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Laozuozi 老坐子 &lt;br /&gt;
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young boy 小二哥&lt;br /&gt;
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young master 公子&lt;br /&gt;
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Mr.Plaster 药先生&lt;br /&gt;
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Choupo 丑婆&lt;br /&gt;
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fisherman渔翁&lt;br /&gt;
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Yupo 渔婆 &lt;br /&gt;
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wood-cutter 柴翁&lt;br /&gt;
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handsome and ugly drum-players 俊鼓和丑鼓&lt;br /&gt;
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handsome and ugly gong-players 俊锣和丑锣&lt;br /&gt;
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====Questions====&lt;br /&gt;
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1. Where does Miliangtun Village Stilts originate?&lt;br /&gt;
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2. How many years of history does Miliangtun Village Stilts have?&lt;br /&gt;
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3. How many roles in Miliangtun Village Stilts?&lt;br /&gt;
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4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?&lt;br /&gt;
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5. How long is the shortest and the longest stilts?&lt;br /&gt;
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====Answers====&lt;br /&gt;
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1. Wangzuo Town, Fengtai District, Beijing.&lt;br /&gt;
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2. More than 250 years.&lt;br /&gt;
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3. 13.&lt;br /&gt;
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4. In 2006.&lt;br /&gt;
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5. The shortest stilt is two feet long, and the longest reaches over five feet.&lt;br /&gt;
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====References====&lt;br /&gt;
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Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.&lt;br /&gt;
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Sun Miao 孙淼. (2018). &amp;quot;一跷多艺&amp;quot;: 胜芳高跷会的舞体表征与比较研究. [&amp;quot;Multi-skills with one stilt&amp;quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.&lt;br /&gt;
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Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin&lt;br /&gt;
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Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&amp;amp;wfr=spider&amp;amp;for=pc&lt;br /&gt;
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--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)&lt;br /&gt;
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==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)&lt;br /&gt;
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Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)&lt;br /&gt;
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When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.&lt;br /&gt;
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When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)&lt;br /&gt;
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There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)&lt;br /&gt;
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In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)&lt;br /&gt;
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===Northern lion dancing===&lt;br /&gt;
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The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)&lt;br /&gt;
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The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)&lt;br /&gt;
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===Southern lion dancing===&lt;br /&gt;
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Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)&lt;br /&gt;
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Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)&lt;br /&gt;
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Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)&lt;br /&gt;
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In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Western Regions 西域&lt;br /&gt;
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mount 坐骑&lt;br /&gt;
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Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
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gong 锣&lt;br /&gt;
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northern lion dancing 南狮&lt;br /&gt;
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southern lion dancing 北狮&lt;br /&gt;
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colorful silk ball 绣球&lt;br /&gt;
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wooden stakes 木桩&lt;br /&gt;
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spiritual resemblance神似&lt;br /&gt;
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Liu Bei lion 刘备狮&lt;br /&gt;
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Guan Gong lion 关公狮&lt;br /&gt;
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Zhang Fei lion 张飞狮&lt;br /&gt;
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sworn brothers 结义兄弟&lt;br /&gt;
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horse stances 马步&lt;br /&gt;
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Cai Qing 采青&lt;br /&gt;
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lettuces 生菜&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. How long is the history of lion dance in China?&lt;br /&gt;
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2. Why did people gradually accept lion as a sacred animal?&lt;br /&gt;
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3. Why did people use lion dance to celebrate the New Year?&lt;br /&gt;
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4. What is the main difference between southern lion dancing and northern lion dancing?&lt;br /&gt;
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5. What is the center of southern lion dancing?&lt;br /&gt;
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6. How many colors are there in the heads of southern lions? And what are they?&lt;br /&gt;
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7. What is “Cai Qing”? And what do you know about “Cai Qing”?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. It is with a history of about 2000 years.&lt;br /&gt;
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2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.&lt;br /&gt;
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3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
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4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.&lt;br /&gt;
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5. It is in southern China’s Guangdong province.&lt;br /&gt;
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6. The head of southern lion has three colors, namely black, red and yellow.&lt;br /&gt;
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7. It means &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming.&lt;br /&gt;
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===References===&lt;br /&gt;
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Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.&lt;br /&gt;
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Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.&lt;br /&gt;
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Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.&lt;br /&gt;
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Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.&lt;br /&gt;
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==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==&lt;br /&gt;
===A. The Eight Tang-Song Prose Masters===&lt;br /&gt;
[[File:Tang Song Ba Da Jia.jpg]]&lt;br /&gt;
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===Brief Introduction of The Eight Tang-Song Prose Masters===&lt;br /&gt;
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The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） &lt;br /&gt;
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The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and &amp;quot;Three Su&amp;quot;(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called &amp;quot;Three Su&amp;quot;. What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)&lt;br /&gt;
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In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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'''1. Han Yu'''&lt;br /&gt;
[[File:Han Yu.jpg]]&lt;br /&gt;
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Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)&lt;br /&gt;
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Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)&lt;br /&gt;
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Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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'''2. Liu Zongyuan'''&lt;br /&gt;
[[File:Liu Zongyuan.jpg]]&lt;br /&gt;
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Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong &amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as&amp;quot; Liu Liuzhou &amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.&lt;br /&gt;
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Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong&amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as &amp;quot;Liu Liuzhou&amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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He was juxtaposed with Han Yu as &amp;quot;Han Liu &amp;quot;, with Liu Yuxi as &amp;quot; Liu Liu &amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu &amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)&lt;br /&gt;
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He was juxtaposed with Han Yu as &amp;quot;Han Liu&amp;quot;, with Liu Yuxi as &amp;quot;Liu Liu&amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu&amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)&lt;br /&gt;
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He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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'''3. Ouyang Xiu'''&lt;br /&gt;
[[File:Ouyang Xiu.jpg]]&lt;br /&gt;
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Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.&lt;br /&gt;
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Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.&lt;br /&gt;
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Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)&lt;br /&gt;
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Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''4. Su Xun'''&lt;br /&gt;
[[File:Su Xun.jpg]]&lt;br /&gt;
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Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.&lt;br /&gt;
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Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world &amp;quot;, to&amp;quot; apply to the present &amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)&lt;br /&gt;
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Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world&amp;quot;, to &amp;quot;apply to the present&amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''5. Su Shi'''&lt;br /&gt;
[[File:Su Shi.jpg]]&lt;br /&gt;
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Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .&lt;br /&gt;
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Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)&lt;br /&gt;
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Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.&lt;br /&gt;
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Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''6. Su Zhe'''&lt;br /&gt;
[[File:Su Zhe.jpg]]&lt;br /&gt;
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Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States.  From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)&lt;br /&gt;
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Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''7. Wang Anshi'''&lt;br /&gt;
[[File:Wang Anshi.jpg]]&lt;br /&gt;
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Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .&lt;br /&gt;
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Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)&lt;br /&gt;
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Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''8. Zeng Gong'''&lt;br /&gt;
[[File:Zeng Gong.jpg]]&lt;br /&gt;
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Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
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Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot;, including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.&lt;br /&gt;
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Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''9. Comparison between the Ancient Prose Movement and Renaissance'''&lt;br /&gt;
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Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)&lt;br /&gt;
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Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in ideology:&lt;br /&gt;
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The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.&lt;br /&gt;
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The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in writing style:&lt;br /&gt;
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The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)&lt;br /&gt;
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The two retro movements were marked by the retro style to restore the creation mode of ancient proses, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in literary form:&lt;br /&gt;
&lt;br /&gt;
The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&amp;quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)&lt;br /&gt;
&lt;br /&gt;
The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: &amp;quot;Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
The Eight Tang-Song Prose Masters 唐宋八大家&lt;br /&gt;
 &lt;br /&gt;
Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》&lt;br /&gt;
&lt;br /&gt;
Ancient Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
parallel prose 骈文&lt;br /&gt;
&lt;br /&gt;
The Decline of Eight Generations 文起八代之衰&lt;br /&gt;
&lt;br /&gt;
The Article Giant 文章巨公&lt;br /&gt;
&lt;br /&gt;
Admired Literate of One Hundred Generations 百代文宗&lt;br /&gt;
&lt;br /&gt;
Han Changli Collection 《韩昌黎集》&lt;br /&gt;
&lt;br /&gt;
External collection 《外集》&lt;br /&gt;
&lt;br /&gt;
The Teacher's Theory《师说》&lt;br /&gt;
&lt;br /&gt;
Pre-Qin and Han Dynasties 先秦两汉时期&lt;br /&gt;
&lt;br /&gt;
writing in classical Chinese 文言文&lt;br /&gt;
&lt;br /&gt;
feudal provincial of Liuzhou 柳州刺史&lt;br /&gt;
&lt;br /&gt;
official supervisor of imperial censor 监察御史&lt;br /&gt;
&lt;br /&gt;
Liu He Dong Colloection 《柳河东集》&lt;br /&gt;
&lt;br /&gt;
Northern Song Dynasty 北宋&lt;br /&gt;
&lt;br /&gt;
a thousand volumes of collections of inscriptions 金石遗文一千卷&lt;br /&gt;
&lt;br /&gt;
Xia, Shang, Zhou Dynasties 三代&lt;br /&gt;
&lt;br /&gt;
the crown of that time 一时之冠&lt;br /&gt;
&lt;br /&gt;
Southern Tang Dynasty 南唐&lt;br /&gt;
&lt;br /&gt;
Yu Feng 余风&lt;br /&gt;
&lt;br /&gt;
The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》&lt;br /&gt;
&lt;br /&gt;
the Northern Song Dynasty poetry innovation movement北宋诗文革新运动&lt;br /&gt;
&lt;br /&gt;
Heng Lun 《衡论》&lt;br /&gt;
&lt;br /&gt;
Duke Jingguo 荆国公&lt;br /&gt;
 &lt;br /&gt;
The Book to the Emperor 《上皇帝书》&lt;br /&gt;
&lt;br /&gt;
Dongpo Jushi 东坡居士&lt;br /&gt;
&lt;br /&gt;
Ci writer 词人&lt;br /&gt;
&lt;br /&gt;
Unconstrained Ci School豪放派&lt;br /&gt;
&lt;br /&gt;
literary and artistic attainments 文学艺术造诣&lt;br /&gt;
&lt;br /&gt;
the first all-round talent in ancient China 中国古代第一全才&lt;br /&gt;
&lt;br /&gt;
Su Men Four bachelors 苏门四学士&lt;br /&gt;
&lt;br /&gt;
the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》&lt;br /&gt;
&lt;br /&gt;
The New Theory《新论》&lt;br /&gt;
&lt;br /&gt;
On the Six Kingdoms 《六国论》&lt;br /&gt;
&lt;br /&gt;
Ode 赋&lt;br /&gt;
&lt;br /&gt;
The Ode to Ink bamboo 《墨竹赋》&lt;br /&gt;
&lt;br /&gt;
Seven Zengs of Nanfeng 南丰七曾&lt;br /&gt;
&lt;br /&gt;
the doctrine before the text先道后文&lt;br /&gt;
&lt;br /&gt;
the Book to Ouyang She Ren 《上欧阳舍人书》&lt;br /&gt;
&lt;br /&gt;
the Book to Bachelor Cai 《上蔡学士书》&lt;br /&gt;
&lt;br /&gt;
the Six Dynasties 六朝&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
1.Who are the pioneers of the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2.Which kind of prose they advocate in the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
3.Do you know any representatives of Liu Zongyuan?&lt;br /&gt;
&lt;br /&gt;
4.Why Ouyang Xiu is called &amp;quot;Liu Yi Scholar&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
5.What’s the relationship among Su Xun, Su Shi and Su Zhe?&lt;br /&gt;
&lt;br /&gt;
6.Who are the &amp;quot;Seven Zengs of Nanfeng&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
7.Do you know any about the Renaissance?&lt;br /&gt;
&lt;br /&gt;
===D. Answers===&lt;br /&gt;
&lt;br /&gt;
1.Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2.The prose of Pre-Qin and Han Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.The &amp;quot;Liu He Dong Colloection&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.&lt;br /&gt;
&lt;br /&gt;
5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.&lt;br /&gt;
&lt;br /&gt;
6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
&lt;br /&gt;
7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.&lt;br /&gt;
&lt;br /&gt;
Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.&lt;br /&gt;
&lt;br /&gt;
He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.&lt;br /&gt;
&lt;br /&gt;
Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.&lt;br /&gt;
&lt;br /&gt;
Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.&lt;br /&gt;
&lt;br /&gt;
Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).&lt;br /&gt;
&lt;br /&gt;
Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).&lt;br /&gt;
&lt;br /&gt;
Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.&lt;br /&gt;
&lt;br /&gt;
Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.&lt;br /&gt;
&lt;br /&gt;
==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==&lt;br /&gt;
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
===1. A Brief Introduction===&lt;br /&gt;
&lt;br /&gt;
[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;src=srp&amp;amp;correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;ancestor=list&amp;amp;cmsid=b749b87b72b5c9427d6560a39d41548f&amp;amp;cmras=6&amp;amp;cn=0&amp;amp;gn=0&amp;amp;kn=0&amp;amp;crn=0&amp;amp;bxn=0&amp;amp;fsn=60&amp;amp;cuben=0&amp;amp;pornn=0&amp;amp;manun=0&amp;amp;adstar=0&amp;amp;clw=247#id=22b2926be2637560e928bbc9318219fb&amp;amp;currsn=0&amp;amp;ps=58&amp;amp;pc=58]for original source.]]&lt;br /&gt;
&lt;br /&gt;
Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)&lt;br /&gt;
&lt;br /&gt;
Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing)&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2.The Development of Pipa===&lt;br /&gt;
&lt;br /&gt;
The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) &lt;br /&gt;
&lt;br /&gt;
During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often  cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===3.Pipa Schools and Their Chracteristics===&lt;br /&gt;
&lt;br /&gt;
The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
(1)The Wuxi school&lt;br /&gt;
&lt;br /&gt;
The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
(2)The Pinghu school&lt;br /&gt;
&lt;br /&gt;
The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
(3)The Pudong School &lt;br /&gt;
&lt;br /&gt;
Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
(4)The Chongming school&lt;br /&gt;
&lt;br /&gt;
The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
(5)The Shanghai school&lt;br /&gt;
&lt;br /&gt;
This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
===4.Traditional Pipa Music===&lt;br /&gt;
&lt;br /&gt;
Traditional pipa music can be divided into military songs, literary songs and military-literary songs.&lt;br /&gt;
&lt;br /&gt;
Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &amp;quot;Ambush on All Sides&amp;quot;, &amp;quot;Bury Me High&amp;quot;, &amp;quot;Hai Qing Hunting the Swan&amp;quot;, &amp;quot;General Order in the Han Dynasty&amp;quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)&lt;br /&gt;
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Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on.&lt;br /&gt;
&lt;br /&gt;
Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)&lt;br /&gt;
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Military-literary song is the combination of martial song and literary song. The representative songs are &amp;quot;The Spring Snow&amp;quot;, &amp;quot;High Mountain and Flowing Water&amp;quot;, &amp;quot;Dragon Boat&amp;quot;, &amp;quot;Flute and Drum at Sunset&amp;quot; and so on.&lt;br /&gt;
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===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
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*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020&lt;br /&gt;
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*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.&lt;br /&gt;
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*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.&lt;br /&gt;
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*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.&lt;br /&gt;
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[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
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===6.Terms and Expressions===&lt;br /&gt;
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*弹拨乐器—plucked instruments&lt;br /&gt;
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*汉化—Chinesization&lt;br /&gt;
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*套曲—divertimentoes&lt;br /&gt;
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*游牧民族—nomad tribe&lt;br /&gt;
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*宫廷乐—court music&lt;br /&gt;
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*轮指法—tremolo&lt;br /&gt;
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*音色—timbre&lt;br /&gt;
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*曲目—repertoire&lt;br /&gt;
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*并弦—parallel string&lt;br /&gt;
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*指法—fingering techniques&lt;br /&gt;
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===7.Questions===&lt;br /&gt;
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1、How many stages did pipa go through during its development?&lt;br /&gt;
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2、What characteristics did pipa have during Wei and Jin dynasties?&lt;br /&gt;
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3、What changes had been made to pipa during Ming and Qing dynasties?&lt;br /&gt;
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4、How many schools does pipa have and what are they?&lt;br /&gt;
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5、Can you list at least 3 representative repertoires of literary songs played by pipa? &lt;br /&gt;
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===8.Answers===&lt;br /&gt;
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1、Four.&lt;br /&gt;
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2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.&lt;br /&gt;
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3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. &lt;br /&gt;
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4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.   &lt;br /&gt;
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5、&amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; .&lt;br /&gt;
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[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
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==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==&lt;br /&gt;
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=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === &lt;br /&gt;
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The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?&lt;br /&gt;
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'''1. Huli-jing (狐狸精) in China'''&lt;br /&gt;
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First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.&lt;br /&gt;
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People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.&lt;br /&gt;
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People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.&lt;br /&gt;
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The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.&lt;br /&gt;
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The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.&lt;br /&gt;
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &amp;quot;Good Hunt&amp;quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.&lt;br /&gt;
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In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &amp;quot;Painted Skin (畫皮)&amp;quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.&lt;br /&gt;
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In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.&lt;br /&gt;
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Quite a lot of information about werewolf foxes can be obtained from the TV series &amp;quot;The Legend of the Nine-Tailed Fox&amp;quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.&lt;br /&gt;
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Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.&lt;br /&gt;
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To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.&lt;br /&gt;
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'''2. Kitsune (キツネ) in Japan''' &lt;br /&gt;
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In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&amp;quot;Fox-messenger&amp;quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.&lt;br /&gt;
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Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.&lt;br /&gt;
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Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.&lt;br /&gt;
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Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. &lt;br /&gt;
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'''3. Kumiho (구미호) in Korea'''&lt;br /&gt;
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Kumiho - (구 &amp;quot;ku&amp;quot; - nine, 미 &amp;quot;mi&amp;quot; - tail, 호 &amp;quot;ho&amp;quot; - fox - &amp;quot;fox with nine tails&amp;quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.&lt;br /&gt;
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In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Shape shifter – 成精&lt;br /&gt;
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Creature –生物&lt;br /&gt;
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Seductive –诱人的&lt;br /&gt;
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Damnation –诅咒&lt;br /&gt;
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Metaphor –隐喻&lt;br /&gt;
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Ascribe –属性&lt;br /&gt;
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Indigenous –土着&lt;br /&gt;
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Deity – 反面人物&lt;br /&gt;
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Liver – 肝脏&lt;br /&gt;
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===References===&lt;br /&gt;
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1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.&lt;br /&gt;
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2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.&lt;br /&gt;
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3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What was the attitude towards the Huli Jing in Ancient China?&lt;br /&gt;
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2. Can we characterize Kitsune as a positive or negative character?&lt;br /&gt;
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3. Could Kumiho become human forever?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.&lt;br /&gt;
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2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.&lt;br /&gt;
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3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.&lt;br /&gt;
References ..................&lt;br /&gt;
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==Chinese Characters - Gu Dongfang 顾东方==&lt;br /&gt;
Chinese Characters&lt;br /&gt;
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===Origin===&lt;br /&gt;
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Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）&lt;br /&gt;
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===Evolution of Chinese characters===&lt;br /&gt;
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]&lt;br /&gt;
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)&lt;br /&gt;
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===Ancient Chinese characters===&lt;br /&gt;
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====Oracle bone script====&lt;br /&gt;
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Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).&lt;br /&gt;
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====Bronze script====&lt;br /&gt;
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In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.&lt;br /&gt;
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====Seal script====&lt;br /&gt;
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. &lt;br /&gt;
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.&lt;br /&gt;
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Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.&lt;br /&gt;
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)&lt;br /&gt;
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===Modern characters===&lt;br /&gt;
====Clerical script====&lt;br /&gt;
&lt;br /&gt;
After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.&lt;br /&gt;
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.&lt;br /&gt;
&lt;br /&gt;
After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Regular script====&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. quote missing --[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:43, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Formation of Chinese characters===&lt;br /&gt;
&lt;br /&gt;
====Pictograms====&lt;br /&gt;
&lt;br /&gt;
Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &amp;quot;sun,&amp;quot; 月 (yuè) for &amp;quot;moon,&amp;quot; and 木 (mù) for &amp;quot;tree.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
====Pictophonetic compounds====&lt;br /&gt;
&lt;br /&gt;
Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:48, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Ideograph ====&lt;br /&gt;
&lt;br /&gt;
Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &amp;quot;knife,&amp;quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &amp;quot;blade.&amp;quot; Other common examples are 上 (shàng) for &amp;quot;up&amp;quot; and 下 (xià) for &amp;quot;down.&amp;quot; This category is small, as most concepts can be represented by characters in other categories. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:53, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Logical aggregates====&lt;br /&gt;
&lt;br /&gt;
Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Associate transformation====&lt;br /&gt;
&lt;br /&gt;
Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &amp;quot;elderly person,&amp;quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Borrowing ====&lt;br /&gt;
&lt;br /&gt;
Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)&lt;br /&gt;
&lt;br /&gt;
===Simplification of Chinese characters===&lt;br /&gt;
&lt;br /&gt;
The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)  quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:03, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and expressions===&lt;br /&gt;
&lt;br /&gt;
1.Oracle Bone Inscriptions  甲骨文&lt;br /&gt;
&lt;br /&gt;
2.Bronze Inscriptions 金文&lt;br /&gt;
&lt;br /&gt;
3.Small seal characters 小篆&lt;br /&gt;
&lt;br /&gt;
4.Official script 隶书&lt;br /&gt;
&lt;br /&gt;
5.Regular script 楷书&lt;br /&gt;
&lt;br /&gt;
6.Cursive writing 草书&lt;br /&gt;
&lt;br /&gt;
7.Cang Jie 仓颉&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8.Clerical script 楷书&lt;br /&gt;
&lt;br /&gt;
9.Su Shi 苏轼&lt;br /&gt;
&lt;br /&gt;
10. Wang Xizhi 王羲之&lt;br /&gt;
&lt;br /&gt;
11.Ou Yangxun 欧阳询&lt;br /&gt;
&lt;br /&gt;
12.Yan Zhenqing 颜真卿&lt;br /&gt;
&lt;br /&gt;
13.Pictograms 象形&lt;br /&gt;
&lt;br /&gt;
14. Pictophonetic compounds 指事&lt;br /&gt;
&lt;br /&gt;
15.Ideograph 会意&lt;br /&gt;
&lt;br /&gt;
16.Logical aggregates 形声&lt;br /&gt;
&lt;br /&gt;
17.Associate transformation 转注&lt;br /&gt;
&lt;br /&gt;
18.Borrowing 假借&lt;br /&gt;
&lt;br /&gt;
===Question===&lt;br /&gt;
1.How many Chinese characters are there?&lt;br /&gt;
&lt;br /&gt;
2.How many letters are in the Chinese alphabet?&lt;br /&gt;
&lt;br /&gt;
3. How many formations of Chinese characters? What are they?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .&lt;br /&gt;
&lt;br /&gt;
2. There are 26 letters in Chinese alphabet.&lt;br /&gt;
&lt;br /&gt;
3. Six formations are included in Chinese characters system, and they are Pictograms&lt;br /&gt;
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1.王显春. 汉字的起源[M]. 学林出版社, 2002.&lt;br /&gt;
&lt;br /&gt;
2.刘又辛. &amp;quot;关于汉字发展史的几个问题(上).&amp;quot; 语文建设 12(1998):34-37.&lt;br /&gt;
&lt;br /&gt;
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188&lt;br /&gt;
&lt;br /&gt;
4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia,  https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.&lt;br /&gt;
&lt;br /&gt;
==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===A.Chinese Knots===&lt;br /&gt;
&lt;br /&gt;
====1.A Brief Introduction about Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It &lt;br /&gt;
originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.&lt;br /&gt;
&lt;br /&gt;
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization. It &lt;br /&gt;
originally evolved from the sewing of the Paleolithic period, into the ritual memorial of the Han Dynasty, and then into today's decorative craft. The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronze of the Warring States Period.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional  decoration and aesthetics,which &lt;br /&gt;
earned the knot its name.&lt;br /&gt;
&lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which &lt;br /&gt;
earned the knot as its name.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.The Classification of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥&lt;br /&gt;
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井&lt;br /&gt;
结）,Cross Knot(十字结） and Ping Knot（平结）.&lt;br /&gt;
&lt;br /&gt;
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot. They are Double Coin Knot(双钱结）, Good Luck Knot（吉祥&lt;br /&gt;
结）, Chinese Button Knot（纽扣结）, Sauvastika Knot（万字结）, Oxalis Knot（酢浆草结）, Pan Chang Knot（盘长结）, Round Brocade Knot（团锦结）, Caisson Celling Knot（藻井&lt;br /&gt;
结）, Cross Knot(十字结） and Ping Knot（平结）.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. &lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots, which are the Double Coin Knot, the Good Luck Knot and the Pan Chang Knot.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 10:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.1.The Double Coin Knot=====&lt;br /&gt;
&lt;br /&gt;
Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views &lt;br /&gt;
on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only &lt;br /&gt;
represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &amp;quot;luck money&amp;quot;. Therefore, for &lt;br /&gt;
the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes &lt;br /&gt;
&amp;quot;good things come in pairs&amp;quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful &lt;br /&gt;
patterns, such as clouds and Perfect Knots，etc. &lt;br /&gt;
&lt;br /&gt;
=====2.2.The Good Luck Knot=====&lt;br /&gt;
&lt;br /&gt;
As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.&lt;br /&gt;
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.&lt;br /&gt;
&lt;br /&gt;
=====2.3.The Pan Chang Knot=====&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the &lt;br /&gt;
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is &lt;br /&gt;
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.&lt;br /&gt;
&lt;br /&gt;
====3.The Knitting Method of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of  basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.&lt;br /&gt;
&lt;br /&gt;
The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.&lt;br /&gt;
&lt;br /&gt;
====4.The Cultural Connotations of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of &lt;br /&gt;
rope and thread.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. In addition, Chinese people are descendants of &lt;br /&gt;
dragons.Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &lt;br /&gt;
&amp;quot;knot&amp;quot;, which means reunion and happiness. Many of the Chinese words composed of &amp;quot;结&amp;quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交&lt;br /&gt;
（making friends), and 永结同心（tie the knot),etc. &amp;quot;结&amp;quot;(knot) is also homonymous with &amp;quot;吉&amp;quot;（ausipiciousness), so people even think that &amp;quot;knot&amp;quot; is a symbol of good luck.&lt;br /&gt;
&lt;br /&gt;
====5.Comparisons between Chinese Knots and Cross Necklaces====&lt;br /&gt;
&lt;br /&gt;
=====5.1.Different Cultural Connotations=====&lt;br /&gt;
&lt;br /&gt;
From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of &lt;br /&gt;
Christianity. The cross, derived from the Latin &amp;quot;crux&amp;quot;, means &amp;quot;fork&amp;quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient &lt;br /&gt;
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross &lt;br /&gt;
ornaments in the west as cross necknaces are usually used to represent love and salvation.&lt;br /&gt;
&lt;br /&gt;
=====5.2.Different Shapes=====&lt;br /&gt;
&lt;br /&gt;
Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have &lt;br /&gt;
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.&lt;br /&gt;
&lt;br /&gt;
====6.References====&lt;br /&gt;
&lt;br /&gt;
*李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.&lt;br /&gt;
&lt;br /&gt;
*李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.&lt;br /&gt;
&lt;br /&gt;
*许星.路论中国结[J].丝绸,2004(02) : 46-47.&lt;br /&gt;
&lt;br /&gt;
*邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.&lt;br /&gt;
&lt;br /&gt;
*王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Double Coin Knot  双钱结&lt;br /&gt;
&lt;br /&gt;
Good Luck Knot 吉祥结&lt;br /&gt;
&lt;br /&gt;
Chinese Button Knot 纽扣结&lt;br /&gt;
&lt;br /&gt;
Sauvastika Knot 万字结&lt;br /&gt;
&lt;br /&gt;
Oxalis Knot 酢浆草结&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot 盘长结&lt;br /&gt;
&lt;br /&gt;
Round Brocade Knot 团锦结&lt;br /&gt;
&lt;br /&gt;
Caisson Celling Knot 藻井结&lt;br /&gt;
&lt;br /&gt;
Cross Knot 十字结&lt;br /&gt;
&lt;br /&gt;
Ping Knot 平结&lt;br /&gt;
&lt;br /&gt;
tie the knot 永结同心&lt;br /&gt;
&lt;br /&gt;
luck money 压岁钱&lt;br /&gt;
&lt;br /&gt;
the bishop's identity 主教职权&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the Chinese knot?&lt;br /&gt;
&lt;br /&gt;
2. Do you know the names of the main Chinese knots? What are they?&lt;br /&gt;
&lt;br /&gt;
3. What do &amp;quot;绳&amp;quot; and &amp;quot;结&amp;quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.&lt;br /&gt;
&lt;br /&gt;
2.&lt;br /&gt;
&lt;br /&gt;
3.&lt;br /&gt;
&lt;br /&gt;
==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==&lt;br /&gt;
&lt;br /&gt;
[[File:Chinese Mythology.jpg|thumb|right|Panku]]&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.&lt;br /&gt;
&lt;br /&gt;
===A. Panku Created the World===&lt;br /&gt;
&lt;br /&gt;
In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).&lt;br /&gt;
&lt;br /&gt;
At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &amp;quot;li&amp;quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).&lt;br /&gt;
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.&lt;br /&gt;
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===B. NuWa Created Human Beings===&lt;br /&gt;
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[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]&lt;br /&gt;
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Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).&lt;br /&gt;
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As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.&lt;br /&gt;
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During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.&lt;br /&gt;
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===C. Fushi Taught the People=== &lt;br /&gt;
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In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .&lt;br /&gt;
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Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &amp;quot;trigrams&amp;quot;,  in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &amp;quot;trigrams&amp;quot; was also a mean to interpret future and consult oracle about the right ways to follow.&lt;br /&gt;
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Finally, Fushi gave his last gift (music) in order people  can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &amp;quot;pipa&amp;quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history.  Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. &lt;br /&gt;
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===D. Water War===&lt;br /&gt;
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Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory.  Historically, both have terrible tempers and described as a very big giants with different shapes, Gong  shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body  with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).&lt;br /&gt;
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Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of  the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).&lt;br /&gt;
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In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.&lt;br /&gt;
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===E. Terms and Expressions===&lt;br /&gt;
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Chinese Mythology 中国神话&lt;br /&gt;
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Panku 盤古&lt;br /&gt;
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Yin/Yang 陰陽 / 阴阳&lt;br /&gt;
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Nuwa 女媧&lt;br /&gt;
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Fushi 伏羲&lt;br /&gt;
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Water War 水战&lt;br /&gt;
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===F. Questions===&lt;br /&gt;
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1. Why an egg a good symbol for the beginning of the world?&lt;br /&gt;
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2. Why Nuwa decided to create human beings?&lt;br /&gt;
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3. What did Fushi taught to people?&lt;br /&gt;
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4. What was the cause of Gong and Zurong’s war and who won?&lt;br /&gt;
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===G. Answers===&lt;br /&gt;
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1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.&lt;br /&gt;
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2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.&lt;br /&gt;
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3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.&lt;br /&gt;
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4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.&lt;br /&gt;
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===References===&lt;br /&gt;
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1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.&lt;br /&gt;
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2. Irene Dea Collier. (2001). &amp;quot;Chinese Mythology&amp;quot;. Library of Congress Cataloging-in-Publication Data.&lt;br /&gt;
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3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg&lt;br /&gt;
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4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)&lt;br /&gt;
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==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==&lt;br /&gt;
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===Chinese gods and immortals===&lt;br /&gt;
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====Chinese mythology system====&lt;br /&gt;
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Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü &amp;amp; Gong 2014, p. 71 )&lt;br /&gt;
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Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An &amp;amp; Turner 2005, p.4)&lt;br /&gt;
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The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)&lt;br /&gt;
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Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &amp;quot;Way&amp;quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson &amp;amp; Stuart 2002, pp. 27-28)&lt;br /&gt;
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At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &amp;quot;most widely beloved Buddhist Divinity&amp;quot; with miraculous powers to assist all those who pray to her.(Buddhism, p37)&lt;br /&gt;
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====神 shén, 帝 dì and 仙 xiān====&lt;br /&gt;
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Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. dì, sometimes translated as &amp;quot;thearch&amp;quot;, implies a manifested or incarnate &amp;quot;godly&amp;quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.(Hu, 2020)&lt;br /&gt;
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There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler &amp;amp; Jeanine 2005, pp. 200-201)&lt;br /&gt;
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====Eight immortals====&lt;br /&gt;
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The Eight Immortals are a group of legendary xian (&amp;quot;immortals&amp;quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &amp;quot;Covert Eight Immortals&amp;quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng &amp;amp; Wang 1987, pp. 40-45)&lt;br /&gt;
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The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng &amp;amp; Wang 1987, pp. 45-50) &lt;br /&gt;
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The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &amp;quot;The Eight Immortals cross the sea, each reveals its divine powers&amp;quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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immortals 仙              &lt;br /&gt;
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mythology 神话，神话学&lt;br /&gt;
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cosmology 宇宙论，宇宙观    &lt;br /&gt;
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monolithic 整体（式）的&lt;br /&gt;
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the Battle of Zhuolu 涿鹿之战&lt;br /&gt;
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pantheistic 泛神论的       &lt;br /&gt;
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polytheistic 多神论的&lt;br /&gt;
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Three Pure Ones 三清&lt;br /&gt;
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anthropomorphic 人格化的&lt;br /&gt;
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tutelary 守护神            &lt;br /&gt;
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deity 神&lt;br /&gt;
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Buddha 佛                 &lt;br /&gt;
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Shakyamuni 释迦牟尼&lt;br /&gt;
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Amitabha 阿弥陀佛         &lt;br /&gt;
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Amitāyus 无量寿佛&lt;br /&gt;
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celestial 天的            &lt;br /&gt;
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Bodhisattva 菩萨          &lt;br /&gt;
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Pure Land 极乐世界         &lt;br /&gt;
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vessels 法器&lt;br /&gt;
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Covert Eight Immortals 暗八仙    &lt;br /&gt;
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Taoist 道家的，道士&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What are the topics of the Ancient mythology?&lt;br /&gt;
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2. What are the differences among shén, dì and xiān?&lt;br /&gt;
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3. What do the Eight immortals represent respectively?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.&lt;br /&gt;
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2. shén and dì corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.&lt;br /&gt;
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3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.&lt;br /&gt;
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[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.&lt;br /&gt;
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[3]Bai Yang. Chinese Huamn History. Time Literature &amp;amp; Art Press, 1987.&lt;br /&gt;
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[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp;amp; Company.&lt;br /&gt;
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[5]Buddhism, the Fulfilment of Hinduism&lt;br /&gt;
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[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.&lt;br /&gt;
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[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.&lt;br /&gt;
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[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature &amp;amp; Are Press,1987.&lt;br /&gt;
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[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.&lt;br /&gt;
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==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==&lt;br /&gt;
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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===Classical Prose Movement of late Tang Dynasty and Song Dynasty===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)&lt;br /&gt;
[suggestion:……and Confucianism Renaissance as its deep. Here, &amp;quot;deep&amp;quot; may be replaced by &amp;quot;depth&amp;quot;.&lt;br /&gt;
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word &amp;quot;and&amp;quot;)it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Development====&lt;br /&gt;
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The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)&lt;br /&gt;
[suggestion:(Here, &amp;quot;Both&amp;quot; can be replaced by &amp;quot;They both&amp;quot;.)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)&lt;br /&gt;
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word &amp;quot;writing&amp;quot; into &amp;quot;wrote&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) &lt;br /&gt;
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====Representatives====&lt;br /&gt;
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'''1.Han Yu'''&lt;br /&gt;
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Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)&lt;br /&gt;
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) &lt;br /&gt;
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Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)&lt;br /&gt;
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'''2.Liu Zongyuan'''&lt;br /&gt;
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Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &amp;quot;Jiangxue&amp;quot;. (Yang Shengli 2020, 42-44)&lt;br /&gt;
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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'''3.Ouyang Xiu'''&lt;br /&gt;
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Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)&lt;br /&gt;
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)&lt;br /&gt;
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Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)&lt;br /&gt;
[suggestion:Except(Here, you may change &amp;quot;Except&amp;quot; into &amp;quot;Besides&amp;quot;.) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Masterworks====&lt;br /&gt;
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Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)&lt;br /&gt;
[suggestion:Except for(Here, you may change &amp;quot;Except for&amp;quot; into &amp;quot;Besides&amp;quot;.) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Influence====&lt;br /&gt;
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The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
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The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家&lt;br /&gt;
&lt;br /&gt;
Classical Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
''Eight Records of Excursions in Yongzhou'' 《永州八记》&lt;br /&gt;
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''On Teachers'' 《师说》&lt;br /&gt;
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''New Book of Tang'' 《新唐书》&lt;br /&gt;
&lt;br /&gt;
''Historical Records of the Five Dynasties'' 《新五代史》&lt;br /&gt;
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''Zuiweng Tingji'' 《醉翁亭记》&lt;br /&gt;
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''Shang Zhongyong'' 《伤仲永》&lt;br /&gt;
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''On Jia Yi'' 《贾谊论》&lt;br /&gt;
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''First Ode to the Red Cliff'' 《赤壁赋》&lt;br /&gt;
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====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Who were the first promoters of the Classical Prose Movement?&lt;br /&gt;
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2. What does the Classical Prose Movement mean?&lt;br /&gt;
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3. What's political and religious purposes of the Classical Prose Movement?&lt;br /&gt;
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====Answers====&lt;br /&gt;
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1. The first promoters of this movement were Han Yu and Liu Zongyuan.&lt;br /&gt;
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2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.&lt;br /&gt;
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3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.&lt;br /&gt;
[suggestion: The reason what…….(Here, you may change &amp;quot;what&amp;quot; into &amp;quot;why&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====References====&lt;br /&gt;
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Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.&lt;br /&gt;
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Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.&lt;br /&gt;
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Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.&lt;br /&gt;
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Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.&lt;br /&gt;
&lt;br /&gt;
Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.&lt;br /&gt;
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Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.&lt;br /&gt;
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Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.&lt;br /&gt;
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==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==&lt;br /&gt;
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===The Chinese Red Envelope and Lucky money tradition===&lt;br /&gt;
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In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.&lt;br /&gt;
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====The Legend====&lt;br /&gt;
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In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
&lt;br /&gt;
One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
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There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.&lt;br /&gt;
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====The tradition====&lt;br /&gt;
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The Chinese custom of lucky money is called &amp;quot;Hongbao&amp;quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &amp;quot;suppressing ghosts money&amp;quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.&lt;br /&gt;
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Red envelopes, also called red packets, lucky money, or &amp;quot;hongbao&amp;quot; in Chinese, &amp;quot;li shi&amp;quot; / &amp;quot;li xi&amp;quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with  the red envelops for kids, which have money stuffed into.&lt;br /&gt;
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====Outside of China====&lt;br /&gt;
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The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.&lt;br /&gt;
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Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.&lt;br /&gt;
In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.&lt;br /&gt;
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In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.&lt;br /&gt;
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In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
Luckymoney 利市 /Lì shì/ &lt;br /&gt;
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Red envelope 紅包 /Hóngbāo/ &lt;br /&gt;
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Confucianism 儒教 /Rújiào/ &lt;br /&gt;
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Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Do you know the origin of giving Lunar new year lucky money to children？&lt;br /&gt;
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===Answers===&lt;br /&gt;
&lt;br /&gt;
1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
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===References===&lt;br /&gt;
https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]&lt;br /&gt;
&lt;br /&gt;
==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==&lt;br /&gt;
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==='''The Twenty-four Solar Terms'''===&lt;br /&gt;
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
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===1. The orgin and development of the twenty-four solar terms===&lt;br /&gt;
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
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“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）&lt;br /&gt;
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&amp;quot;The 24 solar terms&amp;quot; is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is &amp;quot;&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
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By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）&lt;br /&gt;
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By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)&lt;br /&gt;
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===2. The definition and classification of the 24 solar terms===&lt;br /&gt;
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)&lt;br /&gt;
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&amp;quot;The 24 solar term&amp;quot; is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)&lt;br /&gt;
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A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word &amp;quot;meddle&amp;quot;, it should be &amp;quot;middle&amp;quot; .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)&lt;br /&gt;
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The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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===3.Folklore of the 24 solar terms===&lt;br /&gt;
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)&lt;br /&gt;
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The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &amp;quot;whipping of the spring bull&amp;quot; at the beginning of spring and the &amp;quot;tailing festival&amp;quot; at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &amp;quot;the unity of heaven and man, in accordance with the four seasons&amp;quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. &lt;br /&gt;
&lt;br /&gt;
The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the &amp;quot;whipping of the spring bull&amp;quot; at the beginning of spring and the &amp;quot;tailing festival&amp;quot; at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &amp;quot;the unity of heaven and man, in accordance with the four seasons&amp;quot;, the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)&lt;br /&gt;
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These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &amp;quot;biting the spring&amp;quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)&lt;br /&gt;
&lt;br /&gt;
These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &amp;quot;biting the spring&amp;quot; on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)&lt;br /&gt;
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===4.Importance and values of of the 24 solar terms===&lt;br /&gt;
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the &amp;quot;of&amp;quot; should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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===4.1 Importance in ancient times===&lt;br /&gt;
====4.1 Importance in Ancient Times====[the subtitle should add a mark as &amp;quot;=&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.&lt;br /&gt;
&lt;br /&gt;
The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). (Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and  an important manifestation and part of their colourful lives.(Wang Jiahua 2019)&lt;br /&gt;
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Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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For example, the &amp;quot;Four Beginnings&amp;quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
For example, the &amp;quot;Four Beginnings&amp;quot;(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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===4.2 Values in modern society===&lt;br /&gt;
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as &amp;quot;=&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)&lt;br /&gt;
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In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)&lt;br /&gt;
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It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019) &lt;br /&gt;
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Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if &amp;quot;reflect&amp;quot; is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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the Beginning of Spring	立春&lt;br /&gt;
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Beginning of Autumn 立秋&lt;br /&gt;
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Rain Water 雨水 &lt;br /&gt;
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End of Heat 处暑&lt;br /&gt;
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Insects Awakening 惊蛰 	&lt;br /&gt;
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White Dew 白露&lt;br /&gt;
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Spring Equinox 春分 &lt;br /&gt;
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Autumnal Equinox 秋分&lt;br /&gt;
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Fresh Green 清明 &lt;br /&gt;
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Cold Dew 寒露&lt;br /&gt;
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Grain Rain 谷雨	&lt;br /&gt;
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First Frost 霜降 &lt;br /&gt;
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Beginning of Summer 立夏 &lt;br /&gt;
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Beginning of Winter 立冬&lt;br /&gt;
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Lesser Fullness	小满 	&lt;br /&gt;
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Light Snow 小雪&lt;br /&gt;
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Grain in Ear 芒种	&lt;br /&gt;
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Heavy Snow 大雪&lt;br /&gt;
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Summer Solstice	夏至&lt;br /&gt;
 	&lt;br /&gt;
Winter Solstice	冬至&lt;br /&gt;
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Lesser Heat 大暑&lt;br /&gt;
 	&lt;br /&gt;
Lesser Cold 小寒&lt;br /&gt;
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Greater Heat 立春 &lt;br /&gt;
	&lt;br /&gt;
Greater Cold 大寒&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1.1.What are the first four solar terms measured by ancient Chinese people?&lt;br /&gt;
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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2.Where does the 24 solar terms originate from?&lt;br /&gt;
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3. What are the eight solar terms that reflect seasonal changes？&lt;br /&gt;
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4.When was the 24 solar terms included in the World Intangible Cultural Heritage List? &lt;br /&gt;
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5.What are the food customs in the Beginning of Spring?&lt;br /&gt;
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6.Do you konw any other folklore of the 24 solar terms?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.&lt;br /&gt;
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2.It originated in the Yellow River valley.&lt;br /&gt;
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3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice&lt;br /&gt;
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4.In 2016.&lt;br /&gt;
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5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.&lt;br /&gt;
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6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &amp;quot;Sage of Medicine&amp;quot;, invented the &amp;quot;jiaozi&amp;quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &amp;quot;dumpling&amp;quot; or jiaozi. Today there is still a saying that goes &amp;quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&amp;quot;&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Yuan Jix. 袁济喜. (2016). &amp;quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)&lt;br /&gt;
&lt;br /&gt;
Wang Jiahua. 王加华.（2019.9.20）&amp;quot;China Social Science Network&amp;quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml&lt;br /&gt;
&lt;br /&gt;
Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&amp;quot;Chinanews&amp;quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml &lt;br /&gt;
&lt;br /&gt;
He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html&lt;br /&gt;
&lt;br /&gt;
==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==&lt;br /&gt;
&lt;br /&gt;
===Collection of Yue Fu Poetry《乐府诗集》===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
&lt;br /&gt;
'''1.Brief introduction'''&lt;br /&gt;
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''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. &amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)&lt;br /&gt;
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'''2.About the author'''&lt;br /&gt;
&lt;br /&gt;
Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)&lt;br /&gt;
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'''3.Content introduction'''&lt;br /&gt;
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It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &amp;quot;Yuefu Poetry Collection&amp;quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)&lt;br /&gt;
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====Masterpieces====&lt;br /&gt;
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'''1.''The Peacock Flies to Southeast'''''&lt;br /&gt;
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''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.''Mulan Poetry'''''&lt;br /&gt;
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''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)&lt;br /&gt;
&lt;br /&gt;
''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Evaluation====&lt;br /&gt;
&lt;br /&gt;
'''1.Contributions'''&lt;br /&gt;
&lt;br /&gt;
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105) &lt;br /&gt;
&lt;br /&gt;
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.Shortcomings'''&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.&lt;br /&gt;
&lt;br /&gt;
Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry''《乐府诗集》&lt;br /&gt;
&lt;br /&gt;
Jiaomiao songs郊庙歌辞&lt;br /&gt;
&lt;br /&gt;
Yanshe songs燕射歌辞&lt;br /&gt;
&lt;br /&gt;
Guchui drum songs鼓吹曲辞&lt;br /&gt;
&lt;br /&gt;
Hengchui songs横吹曲辞&lt;br /&gt;
&lt;br /&gt;
Xianghe songs相和歌辞&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' 《孔雀东南飞》&lt;br /&gt;
&lt;br /&gt;
''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.When was Yuefu Poetry compiled？&lt;br /&gt;
&lt;br /&gt;
2.Which institution did &amp;quot;Yuefu&amp;quot; belong to?&lt;br /&gt;
&lt;br /&gt;
3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.In Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
2.It belongs to the institution in charge of music.&lt;br /&gt;
&lt;br /&gt;
3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Eight Major Cuisines of China===&lt;br /&gt;
&lt;br /&gt;
====1. A Brief Introduction About Chinese Cuisine====&lt;br /&gt;
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &amp;quot;four major cuisines.&amp;quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &amp;quot;eight major cuisines&amp;quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)&lt;br /&gt;
&lt;br /&gt;
====2. The Classification of Chinese Cuisines====&lt;br /&gt;
      &lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)&lt;br /&gt;
&lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.1 Shandong Cuisine=====&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)&lt;br /&gt;
&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.2 Sichuan Cuisine=====&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one &lt;br /&gt;
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)&lt;br /&gt;
&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.3 Guangdong Cuisine=====&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)&lt;br /&gt;
&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.4 Fujian Cuisine=====&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &amp;quot;pickled taste&amp;quot;. (Shi Hongmei 2009, 55)&lt;br /&gt;
&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their &amp;quot;pickled taste&amp;quot;. (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.5 Jiangsu Cuisine=====&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)&lt;br /&gt;
&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.6 Zhejiang Cuisine=====&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)&lt;br /&gt;
&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.7 Hunan Cuisine=====&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)&lt;br /&gt;
&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.8 Anhui Cuisine=====&lt;br /&gt;
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)&lt;br /&gt;
&lt;br /&gt;
Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3. A Comparison of Chinese-Western Diet Culture====&lt;br /&gt;
&lt;br /&gt;
Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)&lt;br /&gt;
&lt;br /&gt;
Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)&lt;br /&gt;
&lt;br /&gt;
Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)&lt;br /&gt;
&lt;br /&gt;
However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)&lt;br /&gt;
&lt;br /&gt;
There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
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====References====&lt;br /&gt;
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Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.&lt;br /&gt;
&lt;br /&gt;
Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.&lt;br /&gt;
&lt;br /&gt;
Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.&lt;br /&gt;
&lt;br /&gt;
Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．&lt;br /&gt;
&lt;br /&gt;
Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
pot-stewed fowl 卤味&lt;br /&gt;
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stewing and simmering 炖，煨&lt;br /&gt;
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prickly ash 花椒&lt;br /&gt;
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fermented soybean 豆鼓&lt;br /&gt;
&lt;br /&gt;
Braised Dongpo Pork 东坡肉&lt;br /&gt;
&lt;br /&gt;
Buddha Jumps over the Wall 佛跳墙&lt;br /&gt;
&lt;br /&gt;
Kung Pao Chicken 宫保鸡丁&lt;br /&gt;
&lt;br /&gt;
Bean Sauce Tofu 麻婆豆腐&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1. How many types of cuisines are there in china?&lt;br /&gt;
&lt;br /&gt;
2. What’s differences between Chinese and western diets?&lt;br /&gt;
&lt;br /&gt;
3. What is the origin of Dongpo Meat?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. Eight&lt;br /&gt;
&lt;br /&gt;
2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a  more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. &lt;br /&gt;
&lt;br /&gt;
3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==&lt;br /&gt;
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Chinese Paper Cutting 剪纸&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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With a long history, papercutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities which people pray for their ancestor and god. Later, with the widespread papercutting technique and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, papercutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)&lt;br /&gt;
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===History===&lt;br /&gt;
&lt;br /&gt;
The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk fabrics, as well as cloth, silk, etc., were cut into certain shapes to decorate, which lay a solid foundation for the art of papercutting. (Li &amp;amp; Zhang 2015: 7)&lt;br /&gt;
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As the paper is not easy to preserve, few of the paper works could survive to the modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan（吐鲁番）, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)&lt;br /&gt;
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In the dynasty the custom of papercutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower shape was called “Huasheng”, the people shaped “rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in(正仓院) in Japan. (Li &amp;amp; Zhang 2015: 7-8)&lt;br /&gt;
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By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, papercutting was used for crafts such as porcelain and blue calico. (蓝印花布) (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
The art of papercutting became mature in Yuan, Ming and Qing dynasties. There emerged well designed papercutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern (夹纱灯) as an representative. It is a lantern with papercutting clipped in, candlelight reflecting the pattern. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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Since its birth, the art of papercutting has never been interrupted.In its long history, it evolved in art and pottery, printing, dyeing and other art intertwined, being an indispensable part of people’s life. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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===Five Regions===&lt;br /&gt;
&lt;br /&gt;
The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetic, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions: (Wang 2006:106)&lt;br /&gt;
&lt;br /&gt;
Northeast Changbai Mountains area: It mainly covers Changbai Mountain area in Heilongjiang province, Liaoning province. As the birthplace of the nation of Man, the papercutting here herited the culture and customs of Man. (Wang 2006:106)&lt;br /&gt;
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Yellow river basin area: With the north of Shaanxi papercutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)&lt;br /&gt;
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Yangtze River basin area: It covers papercutting in Sichuan, Hubei, Hunan and Jiangsu provinces. Influenced by folk farming culture and the Confucian culture in the Han dynasty, papercutting in this region is in the rough in shape but bears a sense of delicacy.  (Wang 2006:106)&lt;br /&gt;
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The southeastern coastal area: It is highlighted by the papercutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest, tends to be elegant and common appreciation. (Wang 2006:106)&lt;br /&gt;
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Southwestern minority areas: It is characterized by papercutting in the minorities in Yunan and Guizhou province. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of papercutting. (Wang 2006:107)&lt;br /&gt;
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===Techniques===&lt;br /&gt;
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There are various ways to make papercutting works, include folding paper-cutting, smoked paper-cutting(熏样剪纸), color-collage paper-cutting, paper-cutting and tongcun paper-cutting , but the most common ones are mono-colored and dot-colored. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
Mono-colored papercutting refer to cut or curve with a single-colored paper, mostly in red. Since ancient times, the Chinese revered the red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored papercutting is also available in black or other colors, which are used according to different circumstances and situations, among which white papercutting is mostly used as the base sample for embroidery. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
Dyed papercutting also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper absorbs water easily. Twenty or thirty pieces of such paper are put into pile and the pattern is carved out with a knife. Then the mass of paper is dyed.After the dying process, the colors become rich and elegant, with endless changes and a strong local flavor. The dyed papercutting is mainly found in Hebei, Shanxi and Guangdong province, among which the dotted paper cuttings in Weixian, Hebei is very unique. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
===Themes===&lt;br /&gt;
&lt;br /&gt;
Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, animals and birds, twelve zodiac animals, pavilions and pavilions, totem worship(图腾崇拜), religious belief. Its connection with the major festivals and traditional customs find its expression in every aspects of life.Papercutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women &amp;quot;drop their hoes and pick up scissors to cut papers&amp;quot;; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures and Spring Festival couplets (春联) to create an lively environment for the new year. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
It is the rural working women who are the majority of creator of the delicate papercutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk papercutting has been passed down from generation to generation. They are devoutly devoted to the papercutting that are rich in connotations such as prosperity, peace and good fortune, happiness, prosperity, health and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li &amp;amp; Zhang 2015: 9)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.&lt;br /&gt;
&lt;br /&gt;
Li Youyou &amp;amp; Zhang JIngjuan 李有有&amp;amp;张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel &amp;amp; Tourism Press.&lt;br /&gt;
&lt;br /&gt;
Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Dyed papercutting 点染剪纸&lt;br /&gt;
&lt;br /&gt;
Mono-colored papercutting 单色剪纸&lt;br /&gt;
&lt;br /&gt;
Shōsō-in 正仓院&lt;br /&gt;
&lt;br /&gt;
smoked paper-cutting熏样剪纸&lt;br /&gt;
&lt;br /&gt;
Spring Festival couplets 春联&lt;br /&gt;
&lt;br /&gt;
totem worship图腾崇拜&lt;br /&gt;
&lt;br /&gt;
Turfan吐鲁番&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Where was the earliest papercutting found in China?&lt;br /&gt;
&lt;br /&gt;
2. How many regions the distribution of Papercutting can be divided into?&lt;br /&gt;
&lt;br /&gt;
3. Which two types of papercutting are the most common ones?&lt;br /&gt;
&lt;br /&gt;
4. What could be the themes of the papercutting?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.&lt;br /&gt;
&lt;br /&gt;
2. Mono-colored papercutting and dyed papercutting.&lt;br /&gt;
&lt;br /&gt;
3. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area and Southwestern minority areas.&lt;br /&gt;
&lt;br /&gt;
4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, animals and birds, twelve zodiac animals, pavilions and pavilions, totem worship, religious belief.&lt;br /&gt;
&lt;br /&gt;
==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===The Chinese Medical Sage - Zhang Zhongjing===&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)&lt;br /&gt;
&lt;br /&gt;
Later, people called the doctor who sat in the drugstore to treat patients &amp;quot;the doctor sitting in the hall&amp;quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)&lt;br /&gt;
&lt;br /&gt;
When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
There is a Chinese saying that goes, &amp;quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&amp;quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
In fact, the way of making &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &amp;quot;Jiao Er&amp;quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &amp;quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&amp;quot; (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[File:Zhang_Zhongjing.jpg]]&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.&lt;br /&gt;
&lt;br /&gt;
Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.&lt;br /&gt;
&lt;br /&gt;
Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.&lt;br /&gt;
&lt;br /&gt;
Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.&lt;br /&gt;
&lt;br /&gt;
Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.&lt;br /&gt;
&lt;br /&gt;
Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.&lt;br /&gt;
&lt;br /&gt;
Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of &amp;quot;Medical Sage&amp;quot; Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
medical sage 医圣&lt;br /&gt;
&lt;br /&gt;
''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》&lt;br /&gt;
&lt;br /&gt;
treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治&lt;br /&gt;
&lt;br /&gt;
yamen 衙门&lt;br /&gt;
&lt;br /&gt;
Great Cold ( 24th solar term ) 大寒&lt;br /&gt;
&lt;br /&gt;
Slight Cold ( 23rd solar term ) 小寒&lt;br /&gt;
&lt;br /&gt;
look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切&lt;br /&gt;
&lt;br /&gt;
Cold Dispelling Jiaoer Soup 祛寒娇耳汤&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What's the honorable title Zhang Zhongjing addressed as?&lt;br /&gt;
&lt;br /&gt;
2. What's the official role Zhang once taken?&lt;br /&gt;
&lt;br /&gt;
3. When would Zhang treat patients for free at yamen?&lt;br /&gt;
&lt;br /&gt;
4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?&lt;br /&gt;
&lt;br /&gt;
5. What's the relationship between Zhang Zhongjing and dumplings?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Medical Sage.&lt;br /&gt;
&lt;br /&gt;
2. Changsha magistrate.&lt;br /&gt;
&lt;br /&gt;
3. He treated patients for free on the first and fifteenth days of every lunar month.&lt;br /&gt;
&lt;br /&gt;
4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.&lt;br /&gt;
&lt;br /&gt;
5. Dumplings are derived from the recipe &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot; developed by Zhang Zhongjing.&lt;br /&gt;
 &lt;br /&gt;
--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam_4&amp;diff=115646</id>
		<title>20201215 cultexam 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam_4&amp;diff=115646"/>
		<updated>2020-12-19T11:35:33Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Jiaozi(A Paper Currency in Northern Song Dynasty) */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei];  [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.&lt;br /&gt;
&lt;br /&gt;
'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
==Architecture, Bridges - Yu Ni 余妮 英语笔译 202070080620==&lt;br /&gt;
&lt;br /&gt;
===Four Famous Bridges in China—中国四大名桥===&lt;br /&gt;
--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:16, 1 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
China is the hometown of bridges, which has been called &amp;quot;the country of bridges&amp;quot;. It was developed in the Sui Dynasty and flourished in the Song Dynasty. The bridges were woven into a traffic network extending in all directions, connecting the motherland in all directions. The architectural arts of ancient Chinese bridges are pioneering works in the history of bridges, which fully demonstrates the extraordinary wisdom of the ancient Chinese. &amp;quot;Guangji Bridge in Chaozhou city, Zhaozhou Bridge in Hebei province, Luoyang Bridge in Quanzhou city and Lugou Bridge in Beijing are known as the four ancient bridges in China&amp;quot;&lt;br /&gt;
&lt;br /&gt;
China is the hometown of bridges, which has been called &amp;quot;the country of bridges&amp;quot;. It was developed in the Sui Dynasty and flourished in the Song Dynasty. The bridges were integrated into a traffic network extending in all directions, connecting the motherland in all directions. The architectural arts of ancient Chinese bridges are pioneering works in the history of bridges, which fully demonstrates the extraordinary wisdom of the ancient Chinese people. &amp;quot;Guangji Bridge in Chaozhou city, Zhaozhou Bridge in Hebei province, Luoyang Bridge in Quanzhou city and Lugou Bridge in Beijing are known as the four ancient bridges in China.&amp;quot; --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 12:38, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Zhaozhou Bridge===&lt;br /&gt;
Zhaozhou Bridge, also known as Anji Bridge, is the oldest long-span stone arch bridge in China. The bridge was built on the Xiaohe River, Hebei Province. From a distance, it looks like a bright moon in the clouds and a rainbow after rain hanging in the sky, beautiful and spectacular. Built in the Sui Dynasty, it was built by Li Chun, a famous craftsman. With a length of 64.40 meters and a span of 37.02 meters, it is the largest span and the earliest single-span stone arch bridge with open shoulder in the world. (Shen Kun, 2016）&lt;br /&gt;
&lt;br /&gt;
Zhaozhou Bridge, also known as Anji Bridge, is the oldest long-span stone arch bridge in China. The bridge was built on the Xiaohe River, Hebei Province. From a distance, it looks like a bright moon in the clouds and a rainbow after rain hanging in the sky, beautiful and spectacular. It was built by Li Chun, a famous craftsman in the Sui Dynasty. With a length of 64.40 meters and a span of 37.02 meters, it is the largest span and the earliest single-span stone arch bridge with open shoulder in the world. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 13:18, 17 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
Li Chun creatively used the flat arch style, so that the stone arch height was reduced to 7.23 meters, and the ratio of arch height to span was about 1:5. In this way, the slope of the bridge deck is gentle, which is convenient for vehicles, horses and pedestrians. Moreover, it has the advantages of saving materials, fast construction, and increasing the strength and stability of the bridge. Zhaozhou Bridge has been there 1400 years ago. It has experienced 10 times floods, 8 times wars and many earthquakes, but it has not been damaged. (Shen Kun, 2016）&lt;br /&gt;
&lt;br /&gt;
Li Chun creatively adopted the flat arch style, so that the stone arch height was reduced to 7.23 meters, and the ratio of arch height to span was about 1:5. In this way, the slope of the bridge deck is gentle, which is convenient for vehicles, horses and pedestrians. Moreover, it has the advantages of saving materials, fast construction, and increasing the strength and stability of the bridge. Zhaozhou Bridge has been there 1400 years ago. It has experienced 10 times floods, 8 times wars and many earthquakes, but it has not been destroyed. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 13:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mao Yisheng, a famous expert in bridges, said that regardless of the internal structure of the bridge, surviving for over 1300 years explains everything. According to records, Zhaozhou Bridge has been repaired eight times since its completion. Two small arches are added at both ends of the main arch, one is to save materials, the other is to reduce the weight of the bridge body, and to increase the discharge of the river. In order to protect Zhaozhou Bridge, at the end of last century, the new bridge built 100 meters away from Zhaozhou Bridge still follows its style. (Shen Kun, 2016）&lt;br /&gt;
&lt;br /&gt;
Mao Yisheng, a famous expert in bridges, said that regardless of the internal structure of the bridge, surviving for over 1300 years explains everything. According to the records, Zhaozhou Bridge has been repaired eight times since its completion. Two small arches are added at both ends of the main arch, one is to save materials, the other is to reduce the weight of the bridge body, and to increase the discharge of the river. In order to protect Zhaozhou Bridge, at the end of the last century, the new bridge built 100 meters away from Zhaozhou Bridge also follows its style. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 13:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In order to increase the flood discharge capacity, Li Chun also showed ingenuity by setting two small arches on each shoulder of the large arch. It can not only save stone and reduce the weight of the bridge body, but also help to discharge the flood, so as to achieve the perfect unity of architecture and art. It has become a great achievement of bridge engineering technology in China, which is more than 1200 years earlier than the similar arch bridge built in Europe in the middle of 19th century. (Shen Kun, 2016）&lt;br /&gt;
&lt;br /&gt;
In order to increase the flood discharge capacity, Li Chun also showed ingenuity by setting two small arches on each shoulder of the large arch. It can not only save stone and reduce the weight of the bridge body, but also help to discharge the flood, so as to achieve the perfect unity of architecture and art. It has become a great achievement of bridge engineering technique in China, which is more than 1200 years earlier than the similar arch bridge built in Europe in the middle of the 19th century. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 13:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Luoyang Bridge===&lt;br /&gt;
Quanzhou is a famous city with a history of over 1700 years. As early as the Tang and Song Dynasties, Quanzhou was known as an important trading port. Merchants, scholars and missionaries from all over the world came to Quanzhou, leaving many precious historical and religious relics and classical buildings. Luoyang Bridge, also known as “Wanan bridge”, was built by the governor Cai Xiang in the Northern Song Dynasty and completed in six years. It is difficult to build a bridge at the confluence of the river and the sea, the river is wide and deep, and the project is arduous. (Wei lichun, 2007)&lt;br /&gt;
&lt;br /&gt;
Quanzhou is a famous city with a history of over 1700 years. As early as the Tang and Song Dynasties, Quanzhou was known as an important trading port. Merchants, scholars and missionaries from all over the world came to Quanzhou, leaving many precious historical and religious relics and classical buildings. Luoyang Bridge, also known as “Wanan bridge”, was built by the governor Cai Xiang in the Northern Song Dynasty and completed within six years. It is difficult to build a bridge at the confluence of the river and the sea, the river is wide and deep, and the project is arduous. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:00, 17 December 2020 (UTC)&lt;br /&gt;
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The bridge is 834 meters at length and 7 meters at width. There are Zhaohui temple and Zhenshen temple in the north of the bridge, and Caixiang temple in the south of the bridge. In 1988, it was listed as one of the national key cultural protection units and one of Quanzhou’s world cultural heritage sites. (Wei lichun, 2007)&lt;br /&gt;
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The bridge is 834 meters at length and 7 meters at width. There are Zhaohui temple and Zhenshen temple in the north of the bridge, and Caixiang temple in the south of the bridge. In 1988, it was listed as one of the national key cultural protection units and one of Quanzhou’s world cultural heritage sites. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:00, 17 December 2020 (UTC)&lt;br /&gt;
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It was very difficult to build Luoyang Bridge at first. Because the river is wide and the current is swift, sometimes there is wind tide, the water potential is dangerous. Before the construction of the bridge, people came and went by ferries, which often capsized. In order to pray for the safety of the transition, the ferry here was named Wanan Du, so the bridge was also named Wanan Bridge after its completion. Therefore, it was also named Luoyang Bridge because it was built on the Luoyang River. (Wei lichun, 2007)&lt;br /&gt;
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It was very difficult to build Luoyang Bridge at first. Because the river is wide and torrential, sometimes there is wind tide, the water potential is dangerous. Before the construction of the bridge, people came and went by ferries, which often capsized. In order to pray for the safety of the transition, the ferry here was named Wanan Du, so the bridge was also named Wanan Bridge after its completion.As it was built on the Luoyang River, it also named Luoyang Bridge. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:00, 17 December 2020 (UTC)&lt;br /&gt;
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There are many innovations in the construction technology and technology of Luoyang bridge, the raft foundation style, the application and development of wedge pier and the use of oyster to cement bridge pier. After its completion, it has become an important channel of communication between Quanzhou and the mainland. Therefore, Luoyang Bridge has the reputation of “Wan An Ji Zhong”. Under the influence of the completion of Luoyang Bridge, there has been an upsurge of bridge construction in Fujian province, especially in Southern Fujian. Dozens of large and medium-sized stone girder bridges have been built.（Wei lichun, 2007)&lt;br /&gt;
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There are many innovations in the construction technique of the Luoyang bridge, including the raft foundation style, the application and development of wedge pier and the use of oyster to cement bridge pier. After its completion, it has become an important channel of communication between Quanzhou and the mainland. Therefore, Luoyang Bridge has the reputation of “Wan An Ji Zhong”. Under the influence of the completion of Luoyang Bridge, there has been an upsurge of bridge construction in Fujian province, especially in Southern Fujian. Dozens of large and medium-sized stone girder bridges have been built. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:00, 17 December 2020 (UTC)&lt;br /&gt;
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===Lugou Bridge===&lt;br /&gt;
Lugou Bridge is the oldest stone multi-hole arch bridge in Beijing, which has a history of more than 800 years. In the Jin Dynasty, Lugou river was an important transportation point from north to south. There are 11 bridge holes in the whole bridge, and the span and height of each hole are not the same. As early as the Jin Dynasty, this bridge was listed as one of the “Eight Sights of the capital”.(Shen Kun, 2016）&lt;br /&gt;
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Lugou Bridge is the oldest stone multi-hole arch bridge in Beijing, which has a history of more than 800 years. In the Jin Dynasty, Lugou river was an important hub of communication between the north and south. There are 11 bridge holes in the whole bridge, and the span and height of each hole are all different. As early as the Jin Dynasty, this bridge was listed as one of the “Eight Sights of the capital”.--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:14, 17 December 2020 (UTC)&lt;br /&gt;
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The bridge deck of Lugou Bridge is slightly curved with lower ends and uplift in the middle. The lower riverbed of the bridge is paved with pebbles and quartz sand. The whole bridge is built on it, which is very solid and stable. The two ends of the bridge are used as drum-shaped stone block. At the east end are two big stone lions and the west are two big stone elephants which are huge and charming. In addition to the stone lion and stone statue on the top of the fence, there is a 4.65-meter-high ornamental table, which looks like seeing off pedestrians.(Shen Kun, 2016）&lt;br /&gt;
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The bridge deck of Lugou Bridge is slightly curved with lower ends and uplift in the middle. The lower riverbed of the bridge is paved with pebbles and quartz sand. The whole bridge is built on it, which is very solid and stable. The two ends of the bridge are used as drum-shaped stone block. There are two big stone lions at the east end and two big stone elephants at the west which are huge and charming. In addition to the stone lion and stone statue on the top of the fence, there is a 4.65-meter-high ornamental table, which looks like seeing off pedestrians. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:14, 17 December 2020 (UTC)&lt;br /&gt;
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As the oldest stone arch bridge in Beijing and the place where the whole nation’s Anti-Japanese war broke out, Lugou bridge is not only an important cultural resource in Fengtai District, but also a memorial place for major national activities. Bearing rich historical resources, it has become important to publicize the revolutionary tradition of the Chinese nation and carry out patriotic education. Standing on the Lugou Bridge, you can see the memorial hall of the Chinese people’s Anti-Japanese War, the Yongdinghe River ferry wharf, the pinghan railway bridge site, and the Anti-Japanese War sculpture garden, which together constitute a spectacular historical and cultural map.(Shen Kun, 2016）&lt;br /&gt;
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As the oldest stone arch bridge in Beijing and the place where the whole nation’s Anti-Japanese war broke out, Lugou bridge is not only an important cultural resource in Fengtai District, but also a memorial place for major national activities. Rich in historical resources, it has become important to publicize the revolutionary tradition of the Chinese nation and carry out patriotic education. Standing on the Lugou Bridge, you can see the memorial hall of the Chinese people’s Anti-Japanese War, the Yongdinghe River ferry wharf, the pinghan railway bridge site, and the Anti-Japanese War sculpture garden, which together constitute a spectacular historical and cultural map.--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:14, 17 December 2020 (UTC)&lt;br /&gt;
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===Guangji Bridge===&lt;br /&gt;
Guangji Bridge is located at the east gate of the ancient city of Chaozhou, Guangdong Province. Commonly known as Xiangzi bridge. Crossing the vast Hanjiang River, it is an important transportation hub of Fujian and Guangdong. With its unique style of “18 shuttle boats and 24 continents”, it is praised as “the earliest open-close bridge in the world” by famous bridge expert Mao Yisheng. In particular, on the stone tablet of the imperial stele Pavilion at the east end of the bridge, the inscription “Lugou Xiaoyue” written by Emperor Qianlong is the most famous. (Wei lichun,2007)&lt;br /&gt;
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Guangji Bridge, commonly known as Xiangzi bridge, is located at the east gate of the ancient city of Chaozhou, Guangdong Province. Crossing the vast Hanjiang River, it is an important transportation hub of Fujian and Guangdong. With its unique style of “18 shuttle boats and 24 continents”, it is praised as “the earliest open-close bridge in the world” by famous bridge expert Mao Yisheng. In particular, on the stone tablet of the imperial stele Pavilion at the east end of the bridge, the inscription “Lugou Xiaoyue” written by Emperor Qianlong is the most famous. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:24, 17 December 2020 (UTC)&lt;br /&gt;
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Stone lions and stone pavilions at both ends of the bridge, together with Chinese totem pillar, constitute the bridgehead buildings with national characteristics. Marco Polo, an Italian at the end of the 13th century, praised Lugou Bridge as “a beautiful stone bridge in Hanbali”. It is the oldest existing large-scale double-arch long bridge in northern China. “Lugou Xiaoyue” is also one of the famous “Eight Sights of Yanjing”.(Wei lichun,2007)&lt;br /&gt;
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Stone lions and stone pavilions at the two ends of the bridge, together with Chinese totem pillar, constitute the bridgehead buildings with national characteristics. Marco Polo, an Italian at the end of the 13th century, praised Lugou Bridge as “a beautiful stone bridge in Hanbali”. It is the oldest existing large-scale double-arch long bridge in northern China. “Lugou Xiaoyue” is also one of the famous “Eight Sights of Yanjing”. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:24, 17 December 2020 (UTC)&lt;br /&gt;
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There are many folklores about Guangji Bridge. One of the legends is “the immortal Buddha builds the bridge”. That is, after Han Yu came to Chaozhou in the Tang Dynasty, to communicate with the two sides, he asked his nephew Han Xiangzi and other eight immortals to build a bridge with Guangji monk. Due to the failure of his magic power, the middle section could not be connected. Monk Guangji and He Xiangu, one of the eight immortals, were connected with 18 shuttle boats by using lotus flowers as giant cables. Therefore, the bridges were called “Xiangzi bridge” and “Guangji Bridge” respectively. (Wei lichun,2007)&lt;br /&gt;
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There are many folklores about Guangji Bridge. One of the legends is that“the immortal Buddha builds the bridge”. That is, after Han Yu came to Chaozhou in the Tang Dynasty, to communicate with the two sides, he asked his nephew Han Xiangzi and other eight immortals to build a bridge with Guangji monk. Due to the failure of his magic power, the middle section could not be connected. Monk Guangji and He Xiangu, one of the eight immortals, were connected with 18 shuttle boats by using lotus flowers as giant cables. Therefore, the bridges were called “Xiangzi bridge” and “Guangji Bridge” respectively. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:24, 17 December 2020 (UTC)&lt;br /&gt;
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The second legend is that Wang Yuan removed the strange stones. Wang Yuan was the magistrate of Chaozhou who presided over the large-scale bridge repair. He built “24 towers” on the bridge, which was known as “the first bridge in the south of the Yangtze River”. It was said that there were two strange stones on Hulushan mountain, which caused frequent fires and lawsuits in Chaocheng. So, he personally led people up the mountain, leading in smashing down two strange stones. Wang Yuan’s move not only dispelled people’s fear of strange stones, but also solved part of the stone for bridge repair.(Wei lichun,2007)&lt;br /&gt;
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The second legend is that Wang Yuan removed the strange stones. Wang Yuan was the magistrate of Chaozhou who presided over the large-scale bridge repair. He built “24 towers” on the bridge, which was known as “the first bridge in the south of the Yangtze River”. It was said that there were two strange stones in Hulushan mountain, which caused frequent fires and lawsuits in Chaocheng. So, he personally led people up the mountain and smashed down the two strange stones. Wang Yuan’s move not only dispelled people’s fear of strange stones, but also solved part of the stone for bridge repair. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:24, 17 December 2020 (UTC)&lt;br /&gt;
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The third legend is “Wu Fu Gong Ji Shui”. The Duke of Wu was the governor of Chaozhou in of Qing Dynasty. One year, because of the flood of Hanjiang River, Chaozhou City was in danger. He offered sacrifices to the water on the east gate and begged for the water to retreat. However, the water did not retreat. So, he indicated that he would live and die with the city. Strange to say, the flood receded at this time. Since then, people have set up his statue sacrifice in the east gate tower, and built a memorial archway in the East Bridge of Xiangzi bridge.(Wei lichun,2007)&lt;br /&gt;
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The third legend is “Wu Fu Gong Ji Shui”. The Duke of Wu was the governor of Chaozhou in of Qing Dynasty. One year, because of the flood of Hanjiang River, Chaozhou City was in danger. He offered sacrifices to the water on the east gate and begged for the water to retreat. However, the water did not retreat. Therefore, he determined that he would live and die with the city. Strange to say, the flood receded at this time. Since then, people have set up his statue sacrifice in the east gate tower, and built a memorial archway in the East Bridge of Xiangzi bridge. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:24, 17 December 2020 (UTC)&lt;br /&gt;
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Many of China’s ancient and modern bridge science and technology have been in the forefront of the world’s bridge construction, and many bridge styles continue to have an impact on the world’s modern bridge construction. At the same time, it is a living treasure of cultural relics, recording a lot of precious information.(Wei lichun,2007)&lt;br /&gt;
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Many ancient and modern bridge science and technology in China have been in the forefront of the world’s bridge construction, and many bridge styles continue to have an impact on the world’s modern bridge construction. At the same time, it is a living treasure of cultural relics, recording a lot of precious information. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:24, 17 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Shen Kun 沈坤. (2016). 中国古代四大名桥[Four famous bridges in ancient China].百姓生活People's life (07) 59-62.&lt;br /&gt;
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Wei Wei薇薇. (2016).中国人必须知道的国学常识[The common knowledge of Chinese culture that Chinese people must know].雷锋 Lei Feng (Z1) 148-149.&lt;br /&gt;
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Wei Lichun魏丽春. (2007).我国的四大名桥[Four famous bridges in China].新长征New Long March (08) 60.&lt;br /&gt;
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Huang Jun黄军. (1996).我国风景名胜中的四大[Four famous scenic spots in China].农家之友 Friends of farmers (03) 46.&lt;br /&gt;
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===Terms and expressions===&lt;br /&gt;
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石拱桥 stone arch bridge&lt;br /&gt;
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望柱 baluster&lt;br /&gt;
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桥基 settlement&lt;br /&gt;
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泄洪 flood discharging&lt;br /&gt;
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桥墩 pier&lt;br /&gt;
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抱鼓石 drum-shaped stone block&lt;br /&gt;
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华表Chinese totem pillar &lt;br /&gt;
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栏杆 balustrade&lt;br /&gt;
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燕京八景 Eight Sights of Yanjin&lt;br /&gt;
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启闭式桥梁 open-close bridge&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1.Which is is the oldest long-span stone arch bridge in China?&lt;br /&gt;
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2.How many folklores are there about Guangji Bridge and what are they?&lt;br /&gt;
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3.How long has Zhaozhou Bridge been there ?&lt;br /&gt;
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4.Why did Li Chun use the flat arch style to build Zhaozhou Bridge?&lt;br /&gt;
===Answers===&lt;br /&gt;
1. Zhaozhou Bridge, also known as Anji Bridge.&lt;br /&gt;
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2.Three. They are “the immortal Buddha builds the bridge”, “Wang Yuan removed the strange stones” and “Wu Fu Gong Ji Shui”.&lt;br /&gt;
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3. Zhaozhou Bridge has been there for 1400 years.&lt;br /&gt;
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4. To make the slope of the bridge deck gentle, which is convenient for vehicles, horses and pedestrians.&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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====Milk Tea====&lt;br /&gt;
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We live in a modern world with countless yummy food where youngsters can’t live without milk tea. There is even one popular cyber saying that goes like this:”Youngsters continue their lives by drinking milk tea.”&lt;br /&gt;
Milk tea, popular throughout the whole country, even the world, originated from bubble tea of Taiwan. Currently, we have entered “Milk Tea 4.0 Era”. Such an era has endowed milk tea with a brand-new meaning, becoming a cultural symbol pf modern civilization human life, especially youngsters’ lives, namely, a pursuit of identity recognition for youngsters.（Li Xintong 2020，14）&lt;br /&gt;
So, is milk tea really so miraculous? Is it really so tasty? We may as well discuss the past and current situations of milk tea!&lt;br /&gt;
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Living in a modern world with countless yummy food, youngsters have a special obsession for milk tea. There is even a popular saying that goes like this online:”Youngsters sustain their lives by milk tea.”--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 05:36, 17 December 2020 (UTC)&lt;br /&gt;
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Milk tea, popular everywhere in our nation and the rest of the world, originated from bubble tea of Taiwan. Currently, we have entered into “Milk Tea 4.0 Era”. Such an era has endowed milk tea with a brand-new meaning, becoming a cultural symbol of modern civilized human life,  namely, a pursuit of identity recognition for the youths.（Li Xintong 2020，14）--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 05:36, 17 December 2020 (UTC)&lt;br /&gt;
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So, is milk tea really so miraculous? Is it really so tasty? We may as well have a discussion of its past and current stories !--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 05:36, 17 December 2020 (UTC)&lt;br /&gt;
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====A.The Origin of Milk Tea====&lt;br /&gt;
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Each school holds its own opinion about the origin, but in fact, if we carefully analyse the fact, we can easily find its true origin, that is---”Mongolia Milk Tea” drunk by nomadic tribes in Mongolia Plateau. Till now, the nomadic tribes living in Inner Mongolia Autonomous Region of PRC still treat visitors with milk tea, which is an unshakable traditional custom.&lt;br /&gt;
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Each school holds different opinions about the origin, but in fact, after a careful analysis, we can easily find its origin can be traced back as far as to &amp;quot;Mongolia Milk Tea” drunk by nomadic tribes in Mongolia Plateau. Till now, the nomadic tribes living in Inner Mongolia Autonomous Region of PRC still serve their honored visitors with milk tea, which has become an unshakable traditional custom.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 05:49, 17 December 2020 (UTC)&lt;br /&gt;
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====B.The Development of Milk Tea====&lt;br /&gt;
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Due to the rampant global expansion of British colonists, lots of oriental local products, including milk tea of China, were also transported to the occidental world. Later, it was improved and developed in Britain.&lt;br /&gt;
Since the introduction of milk tea into Britain, due to the distinction of climate and dietary habits, British gave up the utilization of spice, but mixed sundry kinds of tea to replace spice to make milk tea, and added maple sugar as condiment, thus giving birth to the rudiment of modern milk tea and its basic ingredients.（《世界著名奶茶大全》 厨影美食）&lt;br /&gt;
Later, Taiwan introduced milk tea.&lt;br /&gt;
In the spring of 1987, manager of a Taiwanese cold drink department---Ms. Lin Xiuhui of &amp;quot;Chunshuitang&amp;quot; , added local snack flour into milk tea, and after her successful promotion to consumers, Lin and her colleagues Shen Tonge, Lin Lingru and Wang Yufeng, were inspired by cooked flour whose shape is similar to black pearl, thus creating the name “Pearl Milk Tea”(Bubble tea, currently). Henceforth, the name full of aesthetic feeling was spread.（《世界著名奶茶大全》 厨影美食）&lt;br /&gt;
By far, modern milk tea has preliminarily come into shape.&lt;br /&gt;
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Due to the reckless global expansion of British colonists, lots of oriental local products, including milk tea of China, were also transported to the occidental world. Later, milk tea was improved and reformed in Britain.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:01, 17 December 2020 (UTC)&lt;br /&gt;
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Since the introduction of milk tea into Britain, due to the difference of climate and dietary habits, British gave up the utilization of spice, but mixed sundry kinds of tea instead to make milk tea, and added maple sugar as condiment, thus giving birth to the rudiment of modern milk tea and its basic ingredients.（《世界著名奶茶大全》 厨影美食）--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:01, 17 December 2020 (UTC)&lt;br /&gt;
Later, Taiwan introduced milk tea.&lt;br /&gt;
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In the spring of 1987, manager of a Taiwanese cold drink department---Ms. Lin Xiuhui of &amp;quot;Chunshuitang&amp;quot; , added a local snack made by flour into milk tea, and after her successful promotion to consumers, Lin and her colleagues Shen Tonge, Lin Lingru and Wang Yufeng, were inspired by cooked flour whose shape and color is similar to black pearl, thus creating the name “Pearl Milk Tea”(Bubble tea, currently). Henceforth, the name full of aesthetic emotions was spread far and wide.（《世界著名奶茶大全》 厨影美食）--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:01, 17 December 2020 (UTC)&lt;br /&gt;
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By far, modern milk tea has come into its preliminarily shape.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:01, 17 December 2020 (UTC)&lt;br /&gt;
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====C.A Comparison of Oriental and Foreign Milk Tea====&lt;br /&gt;
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====1.Local Changsha Milk Tea====&lt;br /&gt;
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When in Changsha, talk as Changshanese do, so let’s talk about Changsha local milk tea first. As we all know, Changsha is famed as an Internet celebrity city, mostly due to “Sexytea”. Sexytea was founded in 2013 as Changsha’s original Chinese style tea brand, uniquely practicing the creation of “new Chinese-style fresh tea”, and staying committed to growing to an original tea beverage design brand. What Sexytea brings to customers is not only a cup of tea, but also an interesting lifestyle, thus showing the beauty of China on the basis of tea. All Sexytea milk tea is produced with Nestle fresh milk and excellent quality tea leaves as ingredients.&lt;br /&gt;
The logo of Sexytea is mainly composed of a Jiangnan woman. A fan and a beauty vividly show the majesty and quaintness of antique Chinese style. Compared with other current milk tea brand logos, that of Sexytea has left a great impression on people.（茶颜悦色密码 2020,68）&lt;br /&gt;
The signature milk tea of Sexytea is “black tea latte”, comprised of Ceylon black tea, Zelanian Anchor whipping cream and American pecans. On the top of the paper cup is Anchor whipping cream with pecans. Black tea latte emphasizes both milk and tea, with each flavor balanced pretty well.&lt;br /&gt;
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When in Changsha, why not talk as Changshanese do, so let’s talk about Changsha local milk tea first. As we all know, Changsha is reputed as an Internet celebrity city, mostly due to “Sexytea”. Sexytea was founded in 2013 as the first original Chinese style tea brand in Changsha, uniquely practicing the creation of “new Chinese-style fresh tea”, and staying committed to growing to an original tea beverage design brand. What Sexytea brings to customers is not only a cup of tea, but also an interesting lifestyle, thus showing the beauty of China by means of tea. All Sexytea milk tea is produced with Nestle fresh milk and excellent quality tea leaves as ingredients.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:31, 17 December 2020 (UTC)&lt;br /&gt;
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The logo of Sexytea is mainly composed of a Jiangnan (south of Yangtze River) woman. A fan and a beauty vividly show the majesty and quaintness of antique Chinese style. Compared with other current milk tea brand logos, that of Sexytea has left a great impression on people.（茶颜悦色密码 2020,68）--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:31, 17 December 2020 (UTC)&lt;br /&gt;
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The signature milk tea of Sexytea is “black tea latte”, made up by Ceylon black tea, Zelanian Anchor whipping cream and American pecans. On the top of the paper cup is Anchor whipping cream with pecans. Black tea latte attaches the same importance to both milk and tea, with each flavor mingled pretty well.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:31, 17 December 2020 (UTC)&lt;br /&gt;
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====2.Hong Kong-style milk tea====&lt;br /&gt;
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The inventor of Hong Kong-style milk tea is Lin Muhe, the founder of the time-honored brand Lanfangyuan in Central, Hong Kong. The 81-year-old &amp;quot;Father of Hong Kong-style milk tea&amp;quot; has never used silk stockings to make tea. When Lanfangyuan was firstly opened, silk stockings were not yet fashionable in Hong Kong. When Lin Muhe was about 10 years old, he worked in Hong Kong, with his wife and a clerk opened Lanfangyuan Food Stall in Baihua Street of Central in 1952. During those days, the small stall always attracted nearby dockers every afternoon, who enjoyed themselves watching Lin Muhe and his colleagues washing their tea bags to and fro. When they saw the brown color of tea bags, they thought it was silk stockings. After that, they would shout &amp;quot;a cup of silk stockings milk tea&amp;quot;. This is the origin of silk stockings milk tea(currently Hong Kong-style milk tea).（《百度百科——丝袜奶茶》)&lt;br /&gt;
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The inventor of Hong Kong-style milk tea is Lin Muhe, the founder of the time-honored brand Lanfangyuan in Central, Hong Kong. The 81-year-old &amp;quot;Father of Hong Kong-style milk tea&amp;quot; has never used silk stockings to make tea. When Lanfangyuan was firstly opened, silk stockings were not yet popular in Hong Kong. When Lin Muhe was about 10 years old, he worked in Hong Kong. Later, with his wife and a clerk, he opened Lanfangyuan Food Stall in Baihua Street of Central in 1952. During those days, the small stall always attracted nearby dockers every afternoon, who enjoyed themselves watching Lin Muhe and his colleagues washing their tea bags to and fro. When they saw the brown color of tea bags, they thought it was silk stockings. After that, they would shout &amp;quot;a cup of silk stockings milk tea&amp;quot; to place an order, hence the name of this milk tea(currently Hong Kong-style milk tea).（《百度百科——丝袜奶茶》)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 09:14, 18 December 2020 (UTC)&lt;br /&gt;
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====3.Indian Masala Chai====&lt;br /&gt;
&lt;br /&gt;
Authentic Masala Chai can only be drunk in India, which is cooked by delicate handicrafts. Due to the addition of various spices, the taste is strong, mellow, hot and spicy at the beginning. However, if the flavor is slightly changed, it will be sweet or spicy, or the various flavors will react with each other. It is just as confusing as Indian curry, but pretty fascinating. Maybe this is what Masala Chai should be. Drinking Indian milk tea is not only a baptism to taste, but also a return to primitive nature.（《世界著名奶茶大全》 厨影美食）&lt;br /&gt;
&lt;br /&gt;
Authentic Masala Chai can only be drunk in India, which is cooked by delicate handicraftsmen. Due to the addition of various spices, the taste is strong, mellow, hot and spicy at the first sip. However, if the flavor is slightly changed, it will be sweet or spicy, or the various flavors will react with each other. It is just as confusing as Indian curry, but pretty fascinating. Maybe this is the essence of Masala Chai. Drinking Indian milk tea is not only a baptism to taste, but also a return to primitive nature in certain level.（《世界著名奶茶大全》 厨影美食）--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 09:14, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====C.Milk Tea and Health====&lt;br /&gt;
&lt;br /&gt;
====1.Advantages====&lt;br /&gt;
&lt;br /&gt;
Drinking milk tea can quickly supplement sugar, increase body energy, decrease fatigue and improve working efficiency.&lt;br /&gt;
&lt;br /&gt;
Drinking milk tea can rapidly replenish sugar, increase body energy, mitigate fatigue and improve working efficiency.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 09:21, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.Disadvantages====&lt;br /&gt;
&lt;br /&gt;
Drinking too much milk tea will increase the possibility of getting fat. It will also increase cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer if drunk for a long time.&lt;br /&gt;
&lt;br /&gt;
Drinking too much milk tea will increase the risk of getting fat. It will also induce cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer after a long time consuming.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 09:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
1.李欣童.（2020）浅谈台湾奶茶文化的三十年变迁.传播力研究,4(14)14-15&lt;br /&gt;
&lt;br /&gt;
2.《世界著名奶茶大全》  厨影美食  &lt;br /&gt;
&lt;br /&gt;
3.《百度百科——丝袜奶茶》&lt;br /&gt;
&lt;br /&gt;
4.茶颜悦色密码 （2020）国企管理,(20)68.&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
Milk tea 奶茶&lt;br /&gt;
&lt;br /&gt;
Spice  香辛料&lt;br /&gt;
&lt;br /&gt;
Rudiment 雏形&lt;br /&gt;
&lt;br /&gt;
Sexytea 茶颜悦色&lt;br /&gt;
&lt;br /&gt;
Black tea latte 幽兰拿铁&lt;br /&gt;
&lt;br /&gt;
Hong Kong-style milk tea 丝袜奶茶&lt;br /&gt;
&lt;br /&gt;
Cholesterol 胆固醇&lt;br /&gt;
&lt;br /&gt;
Hyperglycemia 高血糖&lt;br /&gt;
&lt;br /&gt;
Mongolian Plateau 蒙古高原&lt;br /&gt;
&lt;br /&gt;
Maple sugar 枫糖&lt;br /&gt;
&lt;br /&gt;
Bubble tea 珍珠奶茶&lt;br /&gt;
&lt;br /&gt;
Internet celebrity city网红城市&lt;br /&gt;
&lt;br /&gt;
Pecans 碧根果&lt;br /&gt;
&lt;br /&gt;
Masala Chai 马萨拉奶茶&lt;br /&gt;
&lt;br /&gt;
Hyperlipidemia 高血脂&lt;br /&gt;
&lt;br /&gt;
Angiocardiopathy 心血管疾病&lt;br /&gt;
&lt;br /&gt;
Gastrointestinal  肠胃的&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1.What is the origin of milk tea?&lt;br /&gt;
&lt;br /&gt;
Mongolia Milk Tea.&lt;br /&gt;
&lt;br /&gt;
2.Who promoted milk tea?&lt;br /&gt;
&lt;br /&gt;
British colonists.&lt;br /&gt;
&lt;br /&gt;
3.What is the birth place of modern milk tea?&lt;br /&gt;
&lt;br /&gt;
Britain.&lt;br /&gt;
&lt;br /&gt;
4.What is Changsha’s most famous Internet celebrity milk tea shop’s name?&lt;br /&gt;
&lt;br /&gt;
Sexytea.&lt;br /&gt;
&lt;br /&gt;
5.Is Hong Kong-style milk tea produced with silk stockings?&lt;br /&gt;
&lt;br /&gt;
No.&lt;br /&gt;
&lt;br /&gt;
6.What are the advantages of drinking milk tea?&lt;br /&gt;
&lt;br /&gt;
Drinking milk tea can quickly supplement sugar, increase body energy, decrease fatigue and improve working efficiency.&lt;br /&gt;
&lt;br /&gt;
7.What are the disadvantages of drinking milk tea?&lt;br /&gt;
&lt;br /&gt;
Drinking too much milk tea will increase the possibility of getting fat. It will also increase cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer if drunk for a long time.&lt;br /&gt;
&lt;br /&gt;
==Qingming Riverside Landscspe Garden-Zeng Liang 曾良-英语笔译-202070080578==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. (Wei Tuo 2006,13)&lt;br /&gt;
&lt;br /&gt;
Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting Riverside Scene at Qingming Festival drawn by famous painter Zhang Zeduan in the earlier Song Dynasty. --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)&lt;br /&gt;
&lt;br /&gt;
In 2009, Qingming Riverside Landscape Garden was chosed as China's first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China's intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13) --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)&lt;br /&gt;
&lt;br /&gt;
The painting Riverside Scene at Qingming Festival is a precious scroll of social and folk life in ancient China, reflecting the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the Northern Song Dynasty in China. Although it is just a minor part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25) --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)&lt;br /&gt;
&lt;br /&gt;
There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of Riverside Scene at Qingming Festival, the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. (Chen Kang 2006,62)&lt;br /&gt;
&lt;br /&gt;
The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Zhang Lu 2013,25)&lt;br /&gt;
&lt;br /&gt;
The Fuyun Pavillion, the tallest building in the garden, reaches 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Zhang Lu 2006,62)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion.(Zhang Lu 2013, 26)&lt;br /&gt;
&lt;br /&gt;
Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion.(Zhang Lu 2013, 26)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
 &lt;br /&gt;
During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. (Gao Jing 2010,17)&lt;br /&gt;
&lt;br /&gt;
During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can walk out for a spring outing, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called &amp;quot;Luxuriant Dream of the East Capital of the Great Song Dynasty.&amp;quot; This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life.(Gao Jing 2010,17)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Chrysanthemum cultural festival is another grand festival in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)&lt;br /&gt;
&lt;br /&gt;
Chrysanthemum cultural festival is another grand one in the garden, during which all kinds of chrysanthemums will be presented. The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full use of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, attracting thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life.(Zhang Lu 2013,24)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)&lt;br /&gt;
&lt;br /&gt;
There are vaious performances presented in the Qingming Riverside Landscape Garden, such as &amp;quot;Luxuriant Dream of the East Capital of the Great Song Dynasty&amp;quot;, &amp;quot;Baogong Salute to Guests&amp;quot;, &amp;quot;Spitting Fire Show&amp;quot;, &amp;quot;Cockfight&amp;quot;, &amp;quot;Women's Polo&amp;quot; and so on. Among these formances, &amp;quot;Luxuriant Dream of the East Capital of the Great Song Dynasty&amp;quot; is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance lasts for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today's Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)&lt;br /&gt;
&lt;br /&gt;
Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which gives people a visual impact and has a strong religious color.(Pang Runxin 2019,10)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
''Qingming Riverside Landscape Garden'' 清明上河园&lt;br /&gt;
&lt;br /&gt;
''Riverside Scene at Qingming Festival''《清明上河图》&lt;br /&gt;
&lt;br /&gt;
Rainbow Bridge虹桥&lt;br /&gt;
&lt;br /&gt;
Fuyun Pavillion浮云阁&lt;br /&gt;
&lt;br /&gt;
Shangshan Gate 上善门&lt;br /&gt;
&lt;br /&gt;
chrysanthemum菊花&lt;br /&gt;
&lt;br /&gt;
''Baogong Salute to Guests''包公迎宾&lt;br /&gt;
&lt;br /&gt;
''Spitting Fire Show''气功喷火&lt;br /&gt;
&lt;br /&gt;
''Cockfight''斗鸡&lt;br /&gt;
&lt;br /&gt;
''Women’s Polo''女子马球&lt;br /&gt;
&lt;br /&gt;
''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》&lt;br /&gt;
&lt;br /&gt;
(英文和中文直接需要间隔，清明上河园不需要斜体，其他应该也不用斜体）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.What is the location of ''Qingming Riverside Landscape Garden''?&lt;br /&gt;
&lt;br /&gt;
2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?&lt;br /&gt;
&lt;br /&gt;
3.When was ''Qingming Riverside Landscape Garden'' opened to the public?&lt;br /&gt;
&lt;br /&gt;
4.Who is the painter of ''Piverside Scene at Qingming Festival''?&lt;br /&gt;
&lt;br /&gt;
5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?&lt;br /&gt;
&lt;br /&gt;
6.What does the name of ''Fuyun Pavilion'' mean?&lt;br /&gt;
&lt;br /&gt;
7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?&lt;br /&gt;
&lt;br /&gt;
8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?&lt;br /&gt;
&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.&lt;br /&gt;
&lt;br /&gt;
2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. &lt;br /&gt;
&lt;br /&gt;
3.It was officially opened to the public on October 28, 1998.&lt;br /&gt;
&lt;br /&gt;
4.Zhang Zeduan.&lt;br /&gt;
&lt;br /&gt;
5.Northern Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.&lt;br /&gt;
&lt;br /&gt;
7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. &lt;br /&gt;
&lt;br /&gt;
8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.&lt;br /&gt;
&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.&lt;br /&gt;
&lt;br /&gt;
Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.&lt;br /&gt;
&lt;br /&gt;
Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.&lt;br /&gt;
&lt;br /&gt;
Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.&lt;br /&gt;
&lt;br /&gt;
Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.&lt;br /&gt;
&lt;br /&gt;
Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 15:22, 13 December 2020 (UTC)&lt;br /&gt;
 &lt;br /&gt;
(标点符号之间需要空格）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:22, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
===Batik(Lanran)===&lt;br /&gt;
Batik is a traditional printing and dyeing craftsmanship of textile in China. It was called laxie (Xie, a printing and dyeing method) in ancient times, also known as one of the four great ancient printing techniques which also include jiaoxie (tie-dye), huixie (hollow printing), and jiaxie ( Clamping fabric with clips and the clamped part is difficult to be penetrated by the dye, so as to produce patterns)) in ancient China.（百度百科—蜡染）&lt;br /&gt;
&lt;br /&gt;
===History===&lt;br /&gt;
&lt;br /&gt;
According to interpretation of &amp;quot;Laran&amp;quot; in the collection of Wang Aijun of Junyou Society: Batik is an ancient dyeing technique. It is called “Batik” in Indonesia or Malaysia. &lt;br /&gt;
&lt;br /&gt;
Batik art, with a long history, emerged in China. According to the records of the “Eryi Records”, Batik appeared in the Qin and Han Dynasties, and then became popular during the Six Dynasties. The court of the Sui Dynasty especially liked this kind of handicrafts, and special patterns appeared in this period.&lt;br /&gt;
The earliest unearthed batik object was a quilt which excavated in the tomb of Chu in the Warring States Period in Changsha, and the patterns on the quilt is still unknown.&lt;br /&gt;
&lt;br /&gt;
The earliest unearthed batik object was a quilt which was excavated in the tomb of Chu in the Warring States Period in Changsha, and the pattern on the quilt is still unknown.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:22, 14 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
Batik was especially popular in the Tang Dynasty, during which the technology was more mature than before. At that time, batik can be divided into two types: single-color dyeing and multi-color dyeing, the latter of which can use as many as four or five colors. Later generations can get a glimpse of the gaudiness of batik patterns in the Tang Dynasty from clothes of two women in Song Huizong’s copy of The Painting of Pounding the Texture by Zhang Xuan, and horsemen’s clothes in The Painting of  Lady Guoguo on a Spring Outing. Due to the great influence of Chinese culture in the Tang Dynasty on Japan, Nara’s Shosoin has preserved various treasures of Chinese craftsmanship since the Tang Dynasty, including a set of batik folding screen, which was brought back to Japan by a monk in the Tang Dynasty. &lt;br /&gt;
&lt;br /&gt;
Batik has declined in China since the Song Dynasty, but it has become popular in various parts of Southeast Asia at the same time (especially in Japan, Sumatra and other islands). So far, Indonesian and Malaysian clothes are almost all made of batik.（百度百科—蜡染）&lt;br /&gt;
&lt;br /&gt;
===Types===&lt;br /&gt;
&lt;br /&gt;
Because of vast territory of China, Chinese folk batik art has different forms and styles in different regions. Whether to understand batik art from the perspective of region or ethnic group, it seems difficult to adopt a single method to classify the batik art because of its diversity.Therefore, some scholars analyzed the characteristics of batik art according to different regions, and some scholars tried to understand the style of batik art based on different ethnic groups. We adopted both ways to classify batik art.&lt;br /&gt;
&lt;br /&gt;
China's batik is mainly distributed in Guizhou, Yunnan, Guangxi, Hainan, Sichuan, Hunan, Guangdong, Taiwan, Jiangxi provinces. Chinese batik has different types, such as type of Danzhai, Chonganjiang, Zhijin, Rongjiang, Southern Sichuan, Hainan, Wenshan, etc.  The use, craft, pattern and style of batik vary from region to region.（百度百科—蜡染）&lt;br /&gt;
&lt;br /&gt;
===Technical Process===&lt;br /&gt;
&lt;br /&gt;
Preparation  &lt;br /&gt;
&lt;br /&gt;
Firstly, bleaching and washing the cloth with straw ash, then knead boiled taros into a paste and apply them to the back of the cloth. After drying, using horns to smooth and polish the cloth on a natural ironing table—slate.&lt;br /&gt;
&lt;br /&gt;
Applying wax&lt;br /&gt;
&lt;br /&gt;
Putting the white cloth flat on a wooden board or table, and filling a ceramic bowl or metal pot with beeswax, which was melt with charcoal ash or chaff shell in the brazier, so as to dip the wax with a copper knife. &lt;br /&gt;
Then people can start drawing with the wax. Making a rough sketch according to paper-cut patterns, based on which various beautiful patterns were drawn on the cloth.&lt;br /&gt;
&lt;br /&gt;
Dip-dyeing&lt;br /&gt;
&lt;br /&gt;
Firstly, putting the wax-painted cloth in an indigo dyeing vat. Secondly, taking it out and dry in the air after being soaked for five or six days,  and it will be light blue. After soaking it several times, it will become dark blue. To have both light and dark patterns on the same cloth, one needs to apply wax to the light blue cloth and dip dye it again, after which it appeared in two shades of blue. When the wax-painted cloth was soaked in the dyeing vat, some &amp;quot;wax seals&amp;quot; were broken due to folds, forming natural cracks, generally called &amp;quot;ice patterns&amp;quot;. This &amp;quot;ice pattern&amp;quot; tends to make the batik pattern more layered and unique.&lt;br /&gt;
&lt;br /&gt;
Secondly, taking it out and drying in the air after being soaked for five or six days,  and it will be light blue. --[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:32, 14 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
Dewaxing&lt;br /&gt;
&lt;br /&gt;
After rinsing, boiling with clear water, the wax was removed, showing clear-cut blue and white patterns on the cloth.（廖利.《蜡染艺术》2012）&lt;br /&gt;
&lt;br /&gt;
===Materials ===&lt;br /&gt;
&lt;br /&gt;
The basic principle of batik is to apply wax in the shape of flower on cloth (in ancient times, people use beeswax, while in modern times, people use mixed wax made of paraffin, beeswax, and wood wax), and dip dye the part without wax blue, while the the part with wax turn out to be white, known as “white space” in jargon. Besides, dyestuff could only be used in low temperature because that every wax would melt in high temperature.&lt;br /&gt;
&lt;br /&gt;
The basic principle of batik is to apply wax in the shape of flower on cloth (in ancient times, people use beeswax, while in modern times, people use mixed wax made of paraffin, beeswax, and wood wax), and dip dye the part without wax blue, while the the part with wax turns out to be white, known as “white space” in jargon. Besides, dyestuff could only be used in low temperature because every wax would melt in high temperature.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:37, 14 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
In ancient times, there were no chemical dyes, people had to use vegetal dyes, for example, the stems and leaves of various plants such as Polygonum in Polygonaceae, Isatis tinctoria in Cruciferae, and Woody in leguminous can be fermented to produce indigo dyestuffs. Dyestuffs made from other plants such as safflower for red, madder, yellow gardenia, turmeric for yellow, and Rhamnus utility for green, could only be dyed in hot water, or the color may fade quickly. However, in high temperature, the beeswax had melted and couldn’t maintain the flower shape on the cotton. Therefore, it was difficult to make batik fabrics of other colors but indigo in ancient times.&lt;br /&gt;
&lt;br /&gt;
In the modern printing and dyeing industry, the X-type reactive dyes used in large quantities are all low-temperature types, which can be used below 20-35 degrees and have many different colors. That’s why modern batik crafts can be colorful. However, from the perspective of environmental protection, indigo batik is safer and healthier. （廖利.《蜡染艺术》2012）&lt;br /&gt;
&lt;br /&gt;
===Patterns===&lt;br /&gt;
&lt;br /&gt;
From the classification of Guizhou batik patterns, there were mainly two categories: natural and geometric patterns. &lt;br /&gt;
Natural patterns can be divided into plant patterns and animal patterns.&lt;br /&gt;
&lt;br /&gt;
Natural patterns include chrysanthemum, lotus, peach, orchid, peony, pomegranate, gourd, sunflower, cockscomb, duckweed, aquatic plants, bracken, pepper, and nameless flowers in the mountains. &lt;br /&gt;
&lt;br /&gt;
Animal patterns include ox, dragon, Birds, tigers, lions, elephants, deer, dogs, rabbits, chickens, rats, phoenixes, pheasants, titmouses, owls, bats, butterflies, bees, frogs, snails, turtles, shrimps and other patterns. &lt;br /&gt;
&lt;br /&gt;
The patterns were originated from the nature, based on which ethnic minorities in Guizhou province made bold changes in creation, accurately presenting characteristics of the objects in an extravagant way with high aesthetic value. （《贵州蜡染图案的常用题材》老苗人蜡染民族工艺品网）&lt;br /&gt;
&lt;br /&gt;
Batik art has been handed down from generation to generation in ethnic minority areas. After a long time development, it has accumulated rich creative experience and formed an unique art style, becoming a flower of national art with Chinese characteristics.(廖利《蜡染艺术》2012）&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
batik 蜡染&lt;br /&gt;
&lt;br /&gt;
laxie 蜡缬&lt;br /&gt;
&lt;br /&gt;
huixie 灰缬&lt;br /&gt;
&lt;br /&gt;
jiaoxie 绞缬&lt;br /&gt;
&lt;br /&gt;
jiaxie 夹缬&lt;br /&gt;
&lt;br /&gt;
Eryi Records 《二仪实录》&lt;br /&gt;
&lt;br /&gt;
The Painting of Pounding the Texture 《捣练图》&lt;br /&gt;
&lt;br /&gt;
The Painting of  Lady Guoguo on a Spring Outing《虢国夫人游春图》&lt;br /&gt;
&lt;br /&gt;
single-color dyeing 单色染&lt;br /&gt;
&lt;br /&gt;
multi-color dyeing 复色染&lt;br /&gt;
&lt;br /&gt;
Nara’s Shosoin 奈良的正仓院&lt;br /&gt;
&lt;br /&gt;
Polygonum 蓼蓝&lt;br /&gt;
&lt;br /&gt;
Polygonaceae蓼科植物&lt;br /&gt;
&lt;br /&gt;
Isatis tinctoria 松蓝&lt;br /&gt;
&lt;br /&gt;
Cruciferae 十字花科&lt;br /&gt;
&lt;br /&gt;
anil 木蓝属植物&lt;br /&gt;
&lt;br /&gt;
leguminous豆科&lt;br /&gt;
&lt;br /&gt;
safflower红花 &lt;br /&gt;
&lt;br /&gt;
madder茜草&lt;br /&gt;
&lt;br /&gt;
yellow gardenia黄色栀子&lt;br /&gt;
&lt;br /&gt;
turmeric姜黄&lt;br /&gt;
&lt;br /&gt;
Rhamnus utility冻绿&lt;br /&gt;
&lt;br /&gt;
===Questions and Answers===&lt;br /&gt;
&lt;br /&gt;
1. Which four printing techniques are the four great printing techniques in ancient China?&lt;br /&gt;
&lt;br /&gt;
Laxie, huixie, jiaoxie,and jiaxie.&lt;br /&gt;
&lt;br /&gt;
2. When did batik appear and became popular?&lt;br /&gt;
&lt;br /&gt;
When did batik appear and become popular?--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:46, 14 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
Batik appeared in the Qin and Han Dynasties, and then became popular during the Six Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.  What batik product was kept in Nara’s Shosoin?&lt;br /&gt;
&lt;br /&gt;
Nara’s Shosoin has preserved various treasures of Chinese craftsmanship since the Tang Dynasty, including a set of batik folding screen.&lt;br /&gt;
&lt;br /&gt;
4. Where does batik mainly distribute in China?&lt;br /&gt;
&lt;br /&gt;
China's batik is mainly distributed in Guizhou, Yunnan, Guangxi, Hainan, Sichuan, Hunan, Guangdong, Taiwan, Jiangxi provinces.&lt;br /&gt;
&lt;br /&gt;
5. What are the 4 main processes of making a batik?&lt;br /&gt;
&lt;br /&gt;
Preparation, applying wax, dip-dyeing, and dewaxing.&lt;br /&gt;
&lt;br /&gt;
6. How does “ice patterns” appear?&lt;br /&gt;
&lt;br /&gt;
When the wax-painted cloth was soaked in the dyeing vat, some &amp;quot;wax seals&amp;quot; were broken due to folds, forming natural cracks, generally called &amp;quot;ice patterns&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
7. Why  was it difficult to make batik fabrics of other colors in ancient times?&lt;br /&gt;
 &lt;br /&gt;
Because dyestuffs of different colors could only be used used in hot water, or the color may fade quickly. However, in high temperature, the beeswax had melted and couldn’t maintain the flower shape on the cotton.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
百度百科—蜡染&lt;br /&gt;
&lt;br /&gt;
《蜡染艺术》.www.worlduc.com.廖利&lt;br /&gt;
&lt;br /&gt;
《贵州蜡染图案的常用题材》老苗人蜡染民族工艺品网&lt;br /&gt;
&lt;br /&gt;
==Chinese Ancient Weapons -Zhang Hui张慧 202070080622  MTI==&lt;br /&gt;
===Chinese Ancient Weapons===&lt;br /&gt;
===A.Chinese Ancient Weapons===&lt;br /&gt;
In ancient China, there was a saying of “18 martial arts”, which actually refers to 18 kinds of weapons. Generally, it refers to bow, crossbow, gun, stick, knife, sword, spear, shield, axe, greataxe, dagger halberd, spiked mace, iron whip, bar mace, hammer, trident, palladium, and dagger axe. But the weapons in Chinese martial arts are far more than eighteen kinds, if you add all kinds of strange weapons and all kinds of hidden weapons, its total number is no less than a hundred kinds of fear.(沈志刚，2010).&lt;br /&gt;
&lt;br /&gt;
Short weapons &lt;br /&gt;
&lt;br /&gt;
The so-called short weapons are generally no longer than a person’s eyebrows, lighter in weight, and often held in one hand when used. The most common short weapons are knives and swords. &lt;br /&gt;
&lt;br /&gt;
Long Weapons &lt;br /&gt;
&lt;br /&gt;
The most common long weapons in the martial arts world are spears, stick, and swords. The cord strike concealed weapons are rope dart, meteor hammers, flying claws, soft whips, iron lotus flowers and so on.&lt;br /&gt;
&lt;br /&gt;
Historical Origins&lt;br /&gt;
&lt;br /&gt;
Generally speaking, Chinese ancient weapons refer to the various types of weapons and total equipment used by the Chinese army and civilians in ancient China from the prehistoric period to the end of the Qing Dynasty, that is, until the Opium War in 1840. Both Chinese and foreign studies of ancient weapons take the use of gunpowder as a historical phase, that is, before the invention of gunpowder, the weapons used in the army were called cold weapons. After the invention of gunpowder, the weapons made of gunpowder appeared, firearms. This was the period when cold weapons and firearms were used together. Ancient Chinese weapons can be roughly divided into three stages, the first is the prehistoric period, which is the Stone Age weapons.&lt;br /&gt;
After the beginning of bronze smelting and casting, the main material for weapons at this time began to change to bronze. The weapons of this period were the weapons of the Bronze Age. After people understood the smelting of metals, the main material of the weapons used by the army was changed to steel, and then it entered into the Iron Age.&lt;br /&gt;
During the Northern Song Dynasty, gunpowder began to be used in weapons. China was the home of gunpowder, and its army was the first to use gunpowder weapons.&lt;br /&gt;
After gunpowder came to the West, there was a great development. Therefore, the Dutch and Spanish merchant ships came to China and brought over advanced western firearms, and the Ming Army began to introduce western firearms production technology. After the Opium War, the Qing Dynasty started to train new soldiers, Yuan Shikai started to train new soldiers, and started to introduce new western firearms, the history of ancient Chinese weapons ended. The following is a specific introduction of several weapons.&lt;br /&gt;
&lt;br /&gt;
The meteor hammer &lt;br /&gt;
&lt;br /&gt;
The meteor hammer(Chinese: 流星錘), often referred to simply as meteor (Chinese: 流星), is an ancient Chinese weapon, consisting at its most basic level of two weights connected by a rope or chain. One of the flexible or &amp;quot;soft&amp;quot; weapons, it is referred to by many different names worldwide, dependent upon region, construction and intended use. Other names in use include dai chui, flying hammer, or dragon’s fist. It belongs to the broader classes of flail and chain weapons.&lt;br /&gt;
The meteor hammer could be easily concealed as a defensive or surprise weapon, being of a flexible construction. The primary advantage for using a meteor hammer was its sheer speed.There are two types of meteor hammers:[1] a double-headed version (the typical image of a meteor hammer is generally of this type) and a single-headed version.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Using a meteor hammer involves swinging it around the body to build up considerable speed before releasing the meteor to strike at any angle. Since the meteor has two heads, one could be used offensively while the other could be used to defend, parrying attacks or ensnaring an opponent’s weapon to disarm them. When used by a skilled fighter, its speed, accuracy and unpredictability make it a difficult weapon to defend against. While being swung, a meteor may be wrapped around its user’s arms, legs, torso, neck or waist, before being unwrapped by a powerful jerk of the body to deliver a devastating and swift blow. A master is fully capable of striking, ensnaring or strangling from a distance.&lt;br /&gt;
&lt;br /&gt;
Rope Dart&lt;br /&gt;
&lt;br /&gt;
The rope dart or rope javelin (simplified Chinese: 绳镖), is one of the flexible weapons in Chinese martial arts. Other weapons in this family include the meteor hammer, flying claws, Fei Tou flying weight, and chain whip. Although the flexible weapons share similar movements, each weapon has its own specific techniques.&lt;br /&gt;
Demonstration of the use of a rope dart.&lt;br /&gt;
The rope dart is a long rope (usually 3–5 metres or 10–16 feet) with a metal dart attached to one end. This was a weapon from ancient times, which allows the user to throw the dart out at a long-range target and use the rope to pull it back. The rope dart can be used for twining, binding, circling, hitting, piercing, tightening, slashing and other techniques.The first written description of the rope dart is dated from the Tang Dynasty (618–907 AD).&lt;br /&gt;
&lt;br /&gt;
Rope dart play consists of twining, shooting, and retrieval. Twining and shooting can be done from any joint such as foot, knee, elbow, and neck. The rope is anchored on one hand and played primarily with the other hand.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Skillful use of the rope dart can easily trick an opponent because the dart can shoot out very suddenly, from a person beyond immediate reach.Just like the chain whip, excellent hand-eye coordination is a must for the practitioner to use this weapon well. In some Wushu training regimens, the chain whip and Changquan are prerequisites for learning the rope dart.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A variation of this weapon is the meteor hammer, which has a blunt weight on the end of the rope. It was used in a similar fashion to the rope dart, and many of the techniques are the same.&lt;br /&gt;
&lt;br /&gt;
These ancient weapons have been replaced by newer weapons as they have evolved, and eventually their historical missions have come to an end. The ancient weapons that once equipped the military have been forgotten. So far, many people have only a glimpse of the ancient weapons from movies and plays.&lt;br /&gt;
&lt;br /&gt;
It is not uncommon for people to be forgotten. In fact, this kind of forgetfulness is quite normal, as weapons are not always the only thing that can be forgotten.&lt;br /&gt;
It is with the development of society that old things are naturally forgotten as they are continually being eliminated and renewed. We look forward to the development of more advanced weapons, more technological progress, and a stronger country!&lt;br /&gt;
&lt;br /&gt;
===B.Terms and Expressions===&lt;br /&gt;
greataxe	钺&lt;br /&gt;
&lt;br /&gt;
trident	        叉&lt;br /&gt;
&lt;br /&gt;
dagger halberd	戟	&lt;br /&gt;
&lt;br /&gt;
spiked mace	殳&lt;br /&gt;
&lt;br /&gt;
soft whip	软鞭&lt;br /&gt;
&lt;br /&gt;
bar mace	锏&lt;br /&gt;
&lt;br /&gt;
dagger axe	戈&lt;br /&gt;
&lt;br /&gt;
rope dart	绳镖&lt;br /&gt;
===C.Questions===&lt;br /&gt;
1.	The total numbers of Chinese martial arts?&lt;br /&gt;
&lt;br /&gt;
Answer: The weapons in Chinese martial arts are far more than eighteen kinds.&lt;br /&gt;
&lt;br /&gt;
2.	The name of the first stage of Chinese weapons?&lt;br /&gt;
&lt;br /&gt;
Answer: The Stone Age weapons.&lt;br /&gt;
&lt;br /&gt;
3.	The other weapons in the family of rope dart?&lt;br /&gt;
&lt;br /&gt;
Answer: The meteor hammer, flying claws, Fei Tou flying weight, and chain whip.&lt;br /&gt;
&lt;br /&gt;
4.	How to use a meteor hammer?&lt;br /&gt;
&lt;br /&gt;
Answer: Using a meteor hammer involves swinging it around the body to build up considerable speed before releasing the meteor to strike at any angle.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:16, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1.百度百科&lt;br /&gt;
&lt;br /&gt;
2.沈志刚，《中国兵器的发展》.《明长城陵营造600周年学术研讨会论文集》，2010：497-500.&lt;br /&gt;
&lt;br /&gt;
3.&amp;quot;''Chinese Kung Fu – Meteor Hammer''&amp;quot;. China A-2-Z. March 6, 2009. Archived from the original on September 23, 2009.&lt;br /&gt;
&lt;br /&gt;
4.Jwing-Ming Yang (1999). ''Ancient Chinese Weapons: A Martial Artist's Guide''. YMAA Publication Center Inc. p. 93.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:02, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Terracotta Army-Zhang Ling 张玲 英语笔译 202070080623==&lt;br /&gt;
&lt;br /&gt;
===Terracotta Army===&lt;br /&gt;
&lt;br /&gt;
The Terracotta Army, also known as Qin Shi Huang’s Buried Sculpture Legion, refers to the thousands of life-size clay models of soldiers, horses, and chariots which were deposited around the grand mausoleum of Shi Huangdi, first emperor of China and founder of the Qin dynasty, located near Lishan in Shaanxi Province, central China. The Terracotta Warriors are actually soldiers guarding Emperor Qin Shi Huang’s mausoleum and protecting him in the afterlife.（ Mark Cartwright, 2017)&lt;br /&gt;
&lt;br /&gt;
The Terracotta Army, also known as Qin Shi Huang’s Buried Sculpture Legion, refers to the thousands of life-size clay models of soldiers, horses, and chariots, which were deposited around the grand mausoleum of Shi Huangdi,  the first emperor of China and founder of the Qin dynasty, located near Lishan in Shaanxi Province, central China. The Terracotta Warriors are actually soldiers guarding Emperor Qin Shi Huang’s mausoleum and protecting him in his afterlife.（ Mark Cartwright, 2017)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:34, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For centuries, Qin Shi Huang's massive mausoleum remained undetected until it was unearthed by chance by a group of farmers. In 1974, some farmers in the nearby Xiyang Village began digging a well o find a water resource on some waste land. At first, they found some unique red soil about 2-meter (6.6-feet) in depth underground. On the fifth day after the work started, they found a torso of a pottery figurine, and the villagers originally believed that it was a statue of god and became nervous about offending the god. Thereafter, they continued to find some bronze arrows, crossbows and broken warriors from the well. Prompted by this surprising find, archaeologists began to explore the area, resulting in the discovery of thousands of similar soldiers. After careful examination, they found that the pottery fragments should be parts of the Terracotta Warriors from Emperor Qin Shi Huang’s mausoleum. (Kelly Richman-Abdou, 2020)&lt;br /&gt;
&lt;br /&gt;
For centuries, Qin Shi Huang's massive mausoleum remained undetected until it was unearthed by chance by a group of farmers. In 1974, some farmers in the nearby Xiyang Village began digging a well to find a water resource on some waste land. At first, they found some unique red soil about 2-meter (6.6-feet) in depth underground. On the fifth day after the work started, they found a torso of a pottery figurine, and the villagers originally believed that it was a statue of god and became nervous about offending the god. Thereafter, they continued to find some bronze arrows, crossbows and broken warriors from the well. Prompted by this surprising finding, archaeologists began to explore the area, resulting in the discovery of thousands of similar soldiers. After careful examination, they found that the pottery fragments should be parts of the Terracotta Warriors from Emperor Qin Shi Huang’s mausoleum. (Kelly Richman-Abdou, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
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As the king of the Qin state, Qin Shi Huang (also known as Shi Huangdi) unified China from 221 BCE and then founded the Qin dynasty which is the first and multinational feudal empire in Chinese history. After he unified China, he considered his achievement surpassing the legendary &amp;quot;San Huang (three emperors)&amp;quot; and &amp;quot;Wu Di (five sovereigns)&amp;quot;. He created a new title for himself: &amp;quot;Huangdi&amp;quot; together with &amp;quot;Shi (means the first)&amp;quot;, hence get the name &amp;quot;Qin Shi Huang&amp;quot; or &amp;quot;Qin Shi Huangdi&amp;quot;, which means he was the first emperor of China.(Kelly Richman-Abdou, 2020)&lt;br /&gt;
&lt;br /&gt;
As the king of the Qin dynasty, Qin Shi Huang (also known as Shi Huangdi) unified China from 221 BCE and then founded the Qin dynasty which is the first and multinational feudal empire in Chinese history. After he had unified China, he considered his achievement surpassing the legendary &amp;quot;San Huang (three emperors)&amp;quot; and &amp;quot;Wu Di (five sovereigns)&amp;quot;. He created a new title for himself: &amp;quot;Huangdi&amp;quot; together with &amp;quot;Shi (means the first)&amp;quot;, hence get the name &amp;quot;Qin Shi Huang&amp;quot; or &amp;quot;Qin Shi Huangdi&amp;quot;, which means he was the first emperor of China.(Kelly Richman-Abdou, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The emperor seems to have been especially keen on acquiring immortality, so he sent his ministers to go on quests seeking for an elixir of immortality, and young emissaries were sent across the Eastern Sea in search of the fabled Penglai, land of the immortals. Having failed in these attempts to unnaturally prolong his life, Shi Huangdi returned to the age-old standby of autocratic rulers and had a huge mausoleum built instead. In fact, the whole great project began early in his reign, for it required a great deal of work to prepare. (Kelly Richman-Abdou, 2020)&lt;br /&gt;
&lt;br /&gt;
The emperor seems to have been especially keen on pursuing immortality, so he sent his ministers to go on quests seeking for an elixir of immortality, and young emissaries were sent across the Eastern Sea in search of the fabled Penglai, land of the immortals. Having failed in these attempts to unnaturally prolong his life, Shi Huangdi returned to the age-old standby of autocratic rulers and had a huge mausoleum built instead. In fact, the whole great project began early in his reign, for it required a great deal of work to prepare. (Kelly Richman-Abdou, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
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Ancient Chinese rulers generally had two or three statues outside their tombs as guardians, but Shi Huangdi chose a large group of such statues. The Terracotta Army is actually one of only four in all likelihood as that portion so far excavated (1.5 km from the mausoleum) is on the eastern side and is probably duplicated on the other three sides of the mausoleum. Even this one-quarter section has not been fully excavated, and archaeologists have explored only three of the four pits.  (Travel China Guide, 2020)&lt;br /&gt;
&lt;br /&gt;
Ancient Chinese governors generally had two or three statues outside their tombs as guardians, but Shi Huangdi chose a large group of such statues. The Terracotta Army is actually one of only four in all likelihood as that portion so far excavated (1.5 km from the mausoleum) is on the eastern side and is probably duplicated on the other three sides of the mausoleum. Even this one-quarter section has not been fully excavated, and archaeologists have explored only three of the four pits.  (Travel China Guide, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The main pit of the four which contain the discovered army measures 230 x 62 meters and is 4 to 6 meters deep. It had around 6,000 slightly larger than life-size depictions of infantrymen (1.8-1.9 metres tall), chariots and horses. The second pit, which is slightly smaller and R-shaped, had around 1,300 figures in it. Pit 3 is concave-shaped and consists of two wing-rooms, a chariot-house and around 70 figures. Judging from the internal layout of pit 3, it should be the headquarters of pit 1 and pit 2. The terracotta warriors can be divided into two categories: soldiers and military officials. Depending on the actual combat requirements, different types of warriors have different equipment. Most of them are clad in fine armor with bronze weapons in hand. The face shape, figure, expression, eyebrows, eyes and age of each terracotta warriors are different. (Travel China Guide, 2020)&lt;br /&gt;
&lt;br /&gt;
The main pit of the four which contain the discovered army measures 230 x 62 meters and is 4 to 6 meters at depth. It had around 6,000 slightly larger than life-size depictions of infantrymen (1.8-1.9 metres tall), chariots and horses. The second pit, which is slightly smaller and R-shaped, had around 1,300 figures in it. Pit 3 is concave-shaped and consists of two wing-rooms, a chariot-house and around 70 figures. Judging from the internal layout of pit 3, it should be the headquarters of pit 1 and pit 2. The terracotta warriors can be divided into two categories: soldiers and military officials. Depending on the actual combat requirements, different types of warriors have different equipment. Most of them are clad in fine armors with bronze weapons in hand. The face shape, figure, expression, eyebrows, eyes and age of each terracotta warriors are different. (Travel China Guide, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Experts confirmed that the material used to mold the terracotta warriors and horses is the &amp;quot;yellow earth&amp;quot; from around the mausoleum. Yellow earth is a kind of suitable material with good cohesiveness and plasticity. And the addition of grit to the earth enhances its mechanical properties, making it easy to form large figures. The figures of the terracotta warriors were fired in kilns. For even heating, the Qin craftsmen left small holes in the proper places on the figure. During the firing, the craftsmen paid special attention to keeping the heat at 1,000 C (1,830 F). (Travel China Guide, 2020)&lt;br /&gt;
&lt;br /&gt;
Experts confirmed that the material used to mold the terracotta warriors and horses is the &amp;quot;yellow earth&amp;quot; from around the mausoleum. Yellow earth is a kind of suitable material with good cohesiveness and plasticity. And the addition of grit to the earth enhances its mechanical properties, making it easier to form large figures. The figures of the terracotta warriors were fired in kilns. For even heating, the Qin craftsmen left small holes in the proper places on the figure. During the firing, the craftsmen paid special attention to keeping the heat at 1,000 C (1,830 F). (Travel China Guide, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In addition, experts did a lot of experiments and found that during the firing, these figures were placed upside down in the kiln. This was because the upper part of the figure was heavier than the bottom. The terracotta warriors we see today are steel gray without fresh colors, but they actually were once colored. They were painted with natural pigments refined from minerals. Though having been buried underground for more than 2,200 years, they remained the bright colors after being unearthed at the beginning. However, because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. (Travel China Guide, 2020)&lt;br /&gt;
&lt;br /&gt;
In addition, experts did a lot of experiments and found that during the firing, these figures were placed upside down in the kiln. This was because the upper part of the figure was heavier than the bottom. The terracotta warriors we see today are steel gray without fresh colors, but they actually were once colored. They were painted with natural pigments refined from minerals. Though having been buried underground for more than 2,200 years, they remained the bright colors after being unearthed at the beginning. However, because of a lack of technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. (Travel China Guide, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Historians theorize that the heads and bodies of warriors were manufactured on an assembly line production. This means that each individual part, such as the arms and legs, were made independently to speed up manufacturing. Then, after firing in the kiln, these different complete parts were assembled into one figure. Since each warrior's face was unique, it is believed that artisans added individual clay features on top of the mold for the face, perhaps based on real soldiers of the time.  (Travel China Guide, 2020)&lt;br /&gt;
&lt;br /&gt;
Historians theorize that the heads and bodies of warriors were manufactured on an assembly line production. This means that each individual part, such as the arms and legs, were made independently to speed up manufacturing. Then, after fired in the kiln, these different complete parts were assembled into one figure. Since each warrior's face was unique, it is believed that artisans added individual clay features on top of the mold for the face, perhaps based on real soldiers of the time.  (Travel China Guide, 2020)--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The terracotta figures of Qin Dynasty vividly and richly portray a variety of figures with certain characters. It is a symbol of the maturity of Chinese ancient molding art. It not only inherited the ceramic tradition of China since the Warring States period, but also laid the foundation for the prosperity of molding art in the Tang Dynasty. It serves as a connecting link between the preceding and the following. It is known as &amp;quot;the eighth wonder of the world&amp;quot; and &amp;quot;the treasure of ancient human spiritual civilization&amp;quot;. In 1987, the mausoleum of the first emperor of Qin Dynasty and the pits of terracotta warriors were approved by UNESCO to be included in the World Heritage List. (百度百科——秦始皇兵马俑）&lt;br /&gt;
&lt;br /&gt;
The terracotta figures of Qin Dynasty vividly and richly portrayed a variety of figures with certain characters. It is a symbol of the maturity of Chinese ancient molding art. It not only inherited the ceramic tradition of China since the Warring States period, but also laid the foundation for the prosperity of molding art in the Tang Dynasty. It serves as a connecting link between the preceding and the following. It is known as &amp;quot;the eighth wonder of the world&amp;quot; and &amp;quot;the treasure of ancient human spiritual civilization&amp;quot;. In 1987, the mausoleum of the first emperor of Qin Dynasty and the pits of terracotta warriors were approved by UNESCO to be listed in the World Heritage List. (百度百科——秦始皇兵马俑）--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:58, 18 December 2020 (UTC)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Terrocotta army / Qin Shi Huang’s Buried Sculpture Legion  秦始皇兵马俑	&lt;br /&gt;
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chariot  n. 战车&lt;br /&gt;
&lt;br /&gt;
mausoleum	 n. 陵墓	&lt;br /&gt;
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Qin Shi Huang / Shi Huangdi  秦始皇&lt;br /&gt;
	&lt;br /&gt;
Pit 1  一号坑&lt;br /&gt;
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Pit 2  二号坑&lt;br /&gt;
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Pit 3  三号坑&lt;br /&gt;
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kiln  n. 窑&lt;br /&gt;
&lt;br /&gt;
Eighth Wonder of the World  世界第八大奇迹&lt;br /&gt;
&lt;br /&gt;
World Heritage List 《世界遗产名录》&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Why did Qin Shi Huang make the Terracotta Army?&lt;br /&gt;
&lt;br /&gt;
2. How were the Terracotta Army discovered?&lt;br /&gt;
&lt;br /&gt;
3. How many figures are in the Terracotta Army, and has the whole Terracotta Army been discovered?&lt;br /&gt;
&lt;br /&gt;
4. How the terracotta warriors were made?&lt;br /&gt;
&lt;br /&gt;
5. Were the terracotta warriors once colored?&lt;br /&gt;
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6. Why is the Terracotta Army important?&lt;br /&gt;
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===Answers===&lt;br /&gt;
&lt;br /&gt;
1. The purpose of Qin Shihuang's construction of the Terracotta Army is to have an army protect his mausoleum after his death.&lt;br /&gt;
&lt;br /&gt;
2. The Terracotta Army was discovered by chance by a group of farmers when they were digging a well.&lt;br /&gt;
&lt;br /&gt;
3. According to the estimate, there are more than 8,000 Terracotta Warriors, including about 6,000 from Pit 1, around 1,300 from Pit 2, and around 70 from Pit 3. However, these may be just a part of the whole Terracotta Army. With development in archeological technologies, it’s expected more Terracotta Warriors will be found in the future. &lt;br /&gt;
&lt;br /&gt;
4. The material used to mold the terracotta warriors and horses is a &amp;quot;yellow earth&amp;quot; sourced from around the burial sites. The heads and bodies of the warriors were made via assembly line production. Artisans used mud to make a rough cast and then put it into kilns.&lt;br /&gt;
&lt;br /&gt;
5. The Terracotta Warriors were once colored. They were painted with natural pigments refined from minerals.  But because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. &lt;br /&gt;
&lt;br /&gt;
6. The Terracotta Warriors were once colored. They were painted with natural pigments refined from minerals.  But because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. &lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1. Kelly Richman-Abdou. (2020). Unearthing the Importance of the Life-Sized Terracotta Warriors. &lt;br /&gt;
&lt;br /&gt;
2. Mark Cartwright. (2017). Terracotta Army. Ancient History Encyclopedia.&lt;br /&gt;
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3. Travel China Guide. (2020). What is the Terracotta Army? 10 Things You should Know.&lt;br /&gt;
&lt;br /&gt;
4. 百度百科——秦始皇兵马俑&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
                                                                                 '''Penjing'''&lt;br /&gt;
&lt;br /&gt;
Bonsai, also known as penjing, is the ancient Chinese art of depicting artistically formed trees, other plants, and landscapes in miniature. &lt;br /&gt;
Bonsai, also known as penjing, is the ancient Chinese art of depicting artistically trees, other plants, and landscapes in miniature.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 12:51, 18 December 2020 (UTC)&lt;br /&gt;
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'''A.Categories'''&lt;br /&gt;
&lt;br /&gt;
Penjing generally fall into one of three categories: &lt;br /&gt;
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Penjing generally falls into three categories:--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 12:51, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1. Shumu penjing (树木盆景): Tree penjing that focuses on the depiction of one or more trees and optionally other plants in a container, with the composition's dominant elements shaped by the creator through trimming, pruning, and wiring.2. Shanshui penjing (山水盆景): Landscape penjing that depicts a miniature landscape by carefully selecting and shaping rocks, which are usually placed in a container in contact with water. Small live plants are placed within the composition to complete the depiction.3. Shuihan penjing (水旱盆景): A water and land penjing style that effectively combines the first two, including miniature trees and optionally miniature figures and structures to portray a landscape in detail.（百度百科：盆景的种类）&lt;br /&gt;
&lt;br /&gt;
Shumu penjing (树木盆景): Tree penjing focuses on the depiction of one or more trees and optionally other plants in a container, with the composition's dominant elements shaped by the creator through trimming, pruning, and wiring.2. Shanshui penjing (山水盆景): Landscape penjing depicts a miniature landscape by carefully selecting and shaping rocks, which are usually placed in a container in contact with water. Small live plants are placed within the composition to complete the depiction.3. Shuihan penjing (水旱盆景): A water and land penjing style that effectively combines the first two, including miniature trees and optionally miniature figures and structures to portray a landscape in detail.（百度百科：盆景的种类）--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 12:51, 18 December 2020 (UTC)&lt;br /&gt;
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'''B.History'''&lt;br /&gt;
&lt;br /&gt;
China has a long history of bonsai, dating back to the Neolithic Age, about eight or nine thousand years ago.People already know that plants were planted in bonsai to enjoy the scenery. In the Neolithic site of Hemudu in Yuyao County, Zhejiang Province, a piece of pottery with potted plants was found, which is believed to be the earliest evidence to determine the origin of bonsai. In the Western Han Dynasty, When Zhang Qian was on a mission to the Western Regions, in order to introduce the pomegranates from the Western regions to the central Plains, he adopted the method of potted pomegranates, which is the earliest record of potted plants in China so far. In the Southern and Northern Dynasties, the literati of the six dynasties pursued the artistic conception of landscape beauty, developed the pattern of one pool and three mountains in the garden design of the Han Dynasty, introduced nature into the garden, and pursued poetic painting, which laid a good foundation for the prosperity of bonsai in the Tang and Song dynasties and later.Powerful cultural prosperity in the Tang Dynasty, promoted the growth of bonsai art at that time, both the court and the folk, making enjoying bonsai makers try to become a fashion by using the theory of landscape painting creation will be combined into rocks and plants bonsai, strengthened the potted landscape artistic conception beauty in the Tang Dynasty. The bonsai of Song Dynasty developed further on the basis of inheriting the bonsai of the Tang Dynasty, and the differences between tree bonsai and landscape bonsai were more clear.&lt;br /&gt;
The miniaturization of miniascape was achieved in Yuan Dynasty, which promoted the popularization and promotion of miniascape. Ming and Qing Dynasties, the category of bonsai was more diverse, in addition to the landscape bonsai, drought bonsai, water drought bonsai, there are also set with gold and jade bonsai. They are made of gold, ivory, gem cloisonne and other precious materials, which are noble and elegant, their appearances further enriched the types of ancient bonsai.（2017，菖蒲寿石斋）&lt;br /&gt;
&lt;br /&gt;
China has a long history of bonsai, dating back to the Neolithic Age, about eight or nine thousand years ago. At that time, People already knew that plants can be planted in bonsai for enjoyment. In the Neolithic site of Hemudu in Yuyao County, Zhejiang Province, a piece of pottery with potted plants was found, which is believed to be the earliest evidence to prove the origin of bonsai. In the Western Han Dynasty, When Zhang Qian was on a mission to the Western Regions, in order to introduce the pomegranates from the Western regions to the central Plains, he adopted the method of potted pomegranates, which is the earliest record of potted plants in China so far. In the Southern and Northern Dynasties, the literati of the six dynasties pursued the artistic conception of landscape beauty, developed the pattern of one pool and three mountains in the garden design of the Han Dynasty, introduced nature into the garden, and pursued poetic painting, which laid a good foundation for the prosperity of bonsai in the Tang and Song dynasties and later. Cultural prosperity in the Tang Dynasty, promoted the growth of bonsai art at that time, both the court and the folk, making enjoying bonsai makers try to become a fashion by using the theory of landscape painting creation will be combined into rocks and plants bonsai, strengthened the potted landscape artistic conception beauty in the Tang Dynasty. The bonsai of Song Dynasty developed further on the basis of inheriting the bonsai of the Tang Dynasty, and the difference between tree bonsai and landscape bonsai was more clear.&lt;br /&gt;
The miniaturization of miniascape in Yuan Dynasty was achieved, which promoted the popularization and promotion of miniascape. Ming and Qing Dynasties, bonsai category is more diverse, in addition to the landscape bonsai drought bonsai water drought bonsai, there are also set with gold and jade bonsai. They are made of gold, ivory, gem cloisonne and other precious materials, which are noble and elegant, their appearance further enriched the types of ancient bonsai.（2017，菖蒲寿石斋）--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 12:51, 18 December 2020 (UTC)&lt;br /&gt;
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'''C.Techniques and Care'''&lt;br /&gt;
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Leaf trimming: the selective removal of leaves (for most varieties of deciduous tree)or needles from a bonsai's trunk and branches.&lt;br /&gt;
Pruning: prune the trunk, branches, and roots of the candidate tree.&lt;br /&gt;
Clamping: using mechanical devices for shaping trunks and branches. &lt;br /&gt;
Grafting: new growing material (typically a bud, branch, or root) into a prepared area on the trunk or under the bark of the tree.&lt;br /&gt;
Defoliation: It can provide short-term dwarfing of foliage for certain deciduous species.&lt;br /&gt;
Watering must be regular and must relate to the bonsai species' requirement for dry, moist, or wet soil.&lt;br /&gt;
Repotting must occur at intervals dictated by the vigour and age of each tree.&lt;br /&gt;
Tools have been developed for the specialized requirements of maintaining bonsai.&lt;br /&gt;
Soil composition and fertilization must be specialized to the needs of each bonsai tree, although bonsai soil is almost always a loose, fast-draining mix of components.&lt;br /&gt;
Location and overwintering are species-dependent when the bonsai is kept outdoors as different species require different light conditions. It is important to note that few of the traditional bonsai species can survive inside a typical house, due to the usually dry indoor climate.（2018，盆栽管）&lt;br /&gt;
&lt;br /&gt;
Leaf trimming: the selective removal of leaves (for most varieties of deciduous tree)or needles from a bonsai's trunk and branches.&lt;br /&gt;
Pruning: prune the trunk, branches, and roots of the candidate tree.&lt;br /&gt;
Clamping: using mechanical devices for shaping trunks and branches. &lt;br /&gt;
Grafting:  Putting new growing material (typically a bud, branch, or root) into a prepared area on the trunk or under the bark of the tree.&lt;br /&gt;
Defoliation: It can provide short-term dwarfing of foliage for certain deciduous species.&lt;br /&gt;
Watering must be regular and must relate to the bonsai species' requirements for dry, moist, or wet soil.&lt;br /&gt;
Repotting must occur at intervals dictated by the vigour and age of each tree.&lt;br /&gt;
Tools have been developed for the specialized requirements of maintaining bonsai.&lt;br /&gt;
Soil composition and fertilization must be specialized to the needs of each bonsai tree, although bonsai soil is almost always a loose, fast-draining mix of components.&lt;br /&gt;
Location and overwintering are species-dependent when the bonsai is kept outdoors as different species require different light conditions. It is important to note that few of the traditional bonsai species can survive inside a typical house, due to the usually dry indoor climate.（2018，盆栽管）--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 12:51, 18 December 2020 (UTC)&lt;br /&gt;
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&lt;br /&gt;
'''D. In Other Culture'''&lt;br /&gt;
&lt;br /&gt;
Similar practices exist in other cultures, including the Japanese traditions of bonsai and saikei, as well as the miniature living landscapes of Vietnamese hòn non bộ. Generally speaking, tree penjing specimens differ from bonsai by allowing a wider range of tree shapes (more &amp;quot;natural-looking&amp;quot;) and by planting them in bright-colored and creatively shaped pots. In contrast, bonsai are more simplified in shape (more &amp;quot;minimal&amp;quot; in appearance) with larger-in-proportion trunks, and are planted in unobtrusive, low-sided containers with simple lines and muted colors.While saikei depicts living landscapes in containers, like water and land penjing, it does not use miniatures to decorate the living landscape. Hòn non bộ focuses on depicting landscapes of islands and mountains, usually in contact with water, and decorated with live trees and other plants. Like water and land penjing, hòn non bộ specimens can feature miniature figures, vehicles, and structures. Distinctions among these traditional forms have been blurred by some practitioners outside of Asia, as enthusiasts explore the potential of local plant and pot materials without strict adherence to traditional styling and display guidelines.（维基百科）&lt;br /&gt;
&lt;br /&gt;
Similar practices exist in other cultures, including the Japanese traditions of bonsai and saikei, as well as the miniature living landscapes of Vietnamese hòn non bộ. Generally speaking, tree penjing specimens differ from bonsai by allowing a wider range of tree shapes (more &amp;quot;natural-looking&amp;quot;) and by planting them in bright-colored and creatively shaped pots. In contrast, bonsais are more simplified in shape (more &amp;quot;minimal&amp;quot; in appearance) with larger-in-proportion trunks, and are planted in unobtrusive, low-sided containers with simple lines and muted colors.While saikei depicts living landscapes in containers, like water and land penjing, and it does not use miniatures to decorate the living landscape. Hòn non bộ focuses on depicting landscapes of islands and mountains, usually in contact with water, and decorated with live trees and other plants. Like water and land penjing, hòn non bộ specimens can feature miniature figures, vehicles, and structures. Distinctions among these traditional forms have been blurred by some practitioners outside of Asia, as enthusiasts explore the potential of local plant and pot materials without strict adherence to traditional styling and display guidelines.（维基百科）--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 12:51, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
*miniature小型的，缩小的&lt;br /&gt;
*trimming 修剪&lt;br /&gt;
*pruning  剪枝&lt;br /&gt;
*the Neolithic Age 石器时代&lt;br /&gt;
*pomegranate 石榴&lt;br /&gt;
*literali  文人&lt;br /&gt;
*clamping  折枝成型&lt;br /&gt;
&lt;br /&gt;
===Question===&lt;br /&gt;
*Have you ever raise any plants?&lt;br /&gt;
*How do you know about Bonsai (or Penjing)?&lt;br /&gt;
*What about the techniques of raising bonsai?&lt;br /&gt;
*From which dynasty, bonsai emerged in China?&lt;br /&gt;
*What are the differences about bonsai in China and other countries?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
*Yes, I have raised plants like orange tree in my backyard.&lt;br /&gt;
*It is one of the Chinese traditional art forms, whose elements are based on plants and stone.&lt;br /&gt;
*We can use the technique named clamping to shape the branches of the plant in order to beautify it.&lt;br /&gt;
*The Han Dynasty&lt;br /&gt;
*Penjing allows a wider range of tree shapes (more &amp;quot;natural-looking&amp;quot;) and by planting them in bright-colored and creatively shaped pots.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1]百度百科：盆景的种类&lt;br /&gt;
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[2]百度百科：盆景修建技巧，2018，盆栽管&lt;br /&gt;
&lt;br /&gt;
[3]搜狐网：盆景的历史渊源，2017，菖蒲寿石斋&lt;br /&gt;
&lt;br /&gt;
[4]Wekipedia: The difference of Chinese penjing and other countries&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹 202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
===Douyin (Tik Tok) ===&lt;br /&gt;
&lt;br /&gt;
===A. Douyin and Tik Tok ===    &lt;br /&gt;
Douyin, (抖音, literally “shaking sound” in Chinese) is a short video media app owned by China’s young tech giant Bytedance (字节跳动). It is used for creating and sharing 15-second videos. The contents usually include challenges and funny videos. “It is one of the few applications that has enjoyed wild popularity inside and outside China.” (Hans Tung; 2018:1-2) &lt;br /&gt;
&lt;br /&gt;
Douyin, (抖音, literally “shaking sound” in Chinese) is a short video media app developed by China’s young tech giant Bytedance (字节跳动). It is a platform for creating and sharing 15-second videos. The contents cover a wide range of topics such as challenges-tackling and funny anecdotes. “It is one of the few applications that has enjoyed wild popularity inside and outside China.” (Hans Tung; 2018:1-2)--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:08, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the first quarter of 2018, the international version of Douyin, Tik Tok, was the most downloaded iPhone app in the world. Although they were developed by the same parent company, they are actually not one and the same. “Depending on which app store you have access to, you will only have access to one version of the app, Douyin in Chinese app stores and Tik Tok in overseas app stores.” (Wang Ning, 2019: 11-12) The two apps host completely different content, and content is not shared between the platforms. But both versions of TikTok offer a wide selection of sounds and song snippets, along with the option to add special effects and filters. &lt;br /&gt;
&lt;br /&gt;
In the first quarter of 2018, the international version of Douyin, Tik Tok, saw the most downloads among iPhone users across the world. Although both Douyin and Tick Tok share the same parent company, they are actually not one and the same. “Depending on the types of the app stores, you will only have access to one version of the app, Douyin in Chinese app stores and Tik Tok in overseas ones.” (Wang Ning, 2019: 11-12) The two apps host completely different content and no share between them. However, they both offer a wide selection of sounds and song snippets, along with the option of special effects and filters.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:08, 18 December 2020 (UTC) &lt;br /&gt;
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The app allows users to create, edit, and share short videos as well as livestreams, often featuring music in the background. The most popular types of content on Douyin are dances, comedies, babies, food, pets, pranks, and stunts. “The platform is based around ultra-short, user-posted videos with music that are 15 seconds in duration but can be strung together to make 60-second ‘stories’.” (Liang Quancun, 2019: 20-21) In their videos, users can interact with the camera and sing along to a song of their choice from Douyin’s extensive music library. Showing off dance skills and comedy routines are also popular pastimes on the app. &lt;br /&gt;
&lt;br /&gt;
The app allows users to create, edit, and share short videos as well as livestreams, often with background music. Contents themed on dances, comedies, babies, food, pets, pranks, and stunts are most welcomed on Douyin. “The platform is based on ultra-short, user-posted videos with music. Such clips are lasting only 15 seconds but can be strung together to make 60-second ‘stories’.” (Liang Quancun, 2019: 20-21) In their videos, users can interact with the camera and sing at the same time, with songs provided by Douyin’s extensive music library. Demonstrating dance skills and comedy routines are also popular pastimes on the app.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:08, 18 December 2020 (UTC)&lt;br /&gt;
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Unlike most video apps, there is no “play” or “pause” button on Douyin. Once you open the app, a video starts immediately. You scroll through a 15-second bottomless stream of videos, as does how you scroll through photos on Instagram. Therefore, many people will spend most of the time on the For You Page. Unlike other popular Chinese apps like Weibo and WeChat, where you have to actively follow specific accounts to be pushed toward their content, Douyin identifies users’ interests through a powerful recommendation algorithm that identifies users’ interests and preferences through their viewing behaviors. This is where the algorithm puts content in front of users, anticipating what they will enjoy based on content they have already engaged with. It's also where it shows content it thinks could go viral. The idea is that if the content is good it will travel, regardless of how many followers the creator has. (TikTok: Technology Overview and Issues, 2020)&lt;br /&gt;
&lt;br /&gt;
Unlike most video apps, there is no “play” or “pause” button on Douyin. Once you open the app, a video starts immediately. You scroll through a 15-second stream of videos nonstop, as does how you look through photos on Instagram. Therefore, many people can't help spend most of their spare time on the For You Page. Unlike other popular Chinese apps like Weibo and WeChat, where you have to actively follow specific accounts to be pushed toward their content, Douyin identifies users’ interests through a powerful recommendation algorithm that tracks the users' preferences through their browser history. This is the way how the algorithm works—anticipating what users will enjoy based on the content they have already engaged with. It also shows content it thinks could go viral. The point is that if the content is good the algorithm will fulfill its &amp;quot;duty&amp;quot;, regardless of how many followers the creator has. (TikTok: Technology Overview and Issues, 2020)--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:08, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===B. Comparison Between Tik Tok and Instagram ===   &lt;br /&gt;
As we have mentioned before, Tik Tok is somehow similar to Instagram. But while their app fundamentals are alike, they have many features that distinguish them from each other. Differences between them are as follows: &lt;br /&gt;
&lt;br /&gt;
As what was mentioned before, Tik Tok is somehow similar to Instagram. Despite their alike fundamentals, they have their own distinctive features. Differences between them are as follows:--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1. Time limit: TikTok currently does not have a long-form video feature. Instagram’s long-form video feature, IGTV allows video length of up to one hour. &lt;br /&gt;
&lt;br /&gt;
1. Time limit: TikTok currently does not support a long-form video. '''Instagram’s long-form video feature, IGTV allows a video length of up to one hour.??? QUOTATION IS MISSING'''--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:36, 18 December 2020 (UTC)&lt;br /&gt;
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2. Users: Their users age range differs from each other, most TikTok users are younger than that of Instagram. According to Carissa Brones, “Most TikTok users belong to generation Z and most Instagram users belong to generation Y.” (Carissa Brones, 2019: 1-2) &lt;br /&gt;
&lt;br /&gt;
2. Users: most TikTok users are younger than that of Instagram. According to Carissa Brones, “Most TikTok users belong to generation Z and most Instagram users belong to generation Y.” (Carissa Brones, 2019: 1-2) --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3. Community: compared to Instagram, the Tik Tok community is distinctly palpable. The app allows users to easily connect, create friendships, and collab with others. Each week something new trends, which enables virality and increases the potential for popularity. Creators have identified this supportive environment to grow followers and have left Instagram for Tik Tok.&lt;br /&gt;
&lt;br /&gt;
3. Community: compared to Instagram, the Tik Tok community is distinctly palpable. It allows users to easily connect, build friendships, and collab with each other. besides, something new and trendy is pushed to the users every week so as to further increase its attention. Creators have identified this gap to grow followers and have left Instagram for Tik Tok. QUOTATION IS MISSING --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===C. Popularity and Effects ===   &lt;br /&gt;
It’s clear that Tik Tok is making waves in the social app space. With an explosion of growth, Tik Tok is expected to continue a steep upward trend. Several reasons why Tik Tok is so popular include:&lt;br /&gt;
&lt;br /&gt;
It’s clear that Tik Tok is making waves in the social app space. With an explosion of growth, Tik Tok is expected to continue a steep upward trend. Whereas this new app is enjoying its hockey stick trajectory, Instagram growth is slowly dropping in 2019. Several reasons why Douyin is so popular include:'''逻辑完全不通！！！QUOTATION IS MISSING'''--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 13:43, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1. Localized content - the app often runs local contests and challenges and captures local trends using localized hashtags. Douyin also sends personalised recommendations to each of its users. This ensures that Douyin users are always updated on the latest trending videos and are never out of ideas for video creation. (Wang Ning, 2019: 14-15)&lt;br /&gt;
&lt;br /&gt;
2. Easy content creation, sharing, and viewing - due to the short format, neither the video-creation nor the watching process takes much time or effort. Also, the short-form video content plays as soon as a user opens the app. QUOTATION IS MISSING--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC) &lt;br /&gt;
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3. Celebrity endorsements - several celebrities, including Angelababy(Chinese), Jimmy Fallon(American), have helped drive TikTok's popularity. QUOTATION IS MISSING--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)  &lt;br /&gt;
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There is no doubt that TikTok has had an impact on today’s world. It has become prevalent in schools, in the workplace, and in many other public venues. It is quite common to find someone either making a TikTok or doing one of the TikTok dances. QUOTATION IS MISSING--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
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1. Moral Entertainment: The major advantage of TikTok is that it serves as a great source of entertainment. Overall, TikTok is a great app to help stay entertained, especially during the stress of the pandemic. QUOTATION IS MISSING--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
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2. Publicity: With TikTok, anyone can create short videos doing anything they choose to do that’s appropriate and legal to ensnare the public interest and become viral in society.&lt;br /&gt;
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2. Publicity: With TikTok, anyone can ensnare the public interest and become viral in public by creating short videos in which anything they choose to do that’s appropriate and legal. QUOTATION IS MISSING--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
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3. Learning New Things: On top of the funny videos and the dancing videos, there are some people that make videos with great opportunities and life tips that can help many people. Also, there are other people like doctors or teachers on TikTok utilizing the platform to teach new things every day. (Wang Ning, 2019: 20-21)&lt;br /&gt;
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4. Providing New Opportunities: With the ongoing pandemic, young students such as high schoolers have been finding remote volunteering and internship opportunities directly from TikTok. As an engaging platform, TikTok connects determined youths together to volunteer for nonprofits like Linens N Love or intern for companies. (Wang Ning, 2019: 20-21)&lt;br /&gt;
&lt;br /&gt;
Despite the many benefits of TikTok however, there are negative effects to take into consideration as well. Some of the following negative effects of TikTok are:&lt;br /&gt;
&lt;br /&gt;
Despite the many benefits of TikTok however, there are negative effects to take into consideration as well. there are as follows:--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1. Addiction: Most people scroll through the for you page looking at videos perfectly catered to their tastes through the TikTok algorithm. The app is designed to be addictive, with an unlimited stream of videos at around 30 seconds each, making it hard to get bored. It’s incredibly easy to fall down the TikTok hole and suddenly reemerge hours later having lost an entire day.&lt;br /&gt;
&lt;br /&gt;
1. Addiction: Most people scroll through the for you page looking at videos perfectly catered to their tastes through the TikTok algorithm. The app is designed to be addictive, with an unlimited stream of videos at around 30 seconds each, making users hard to get bored. It’s incredibly easy to fall down the TikTok hole and suddenly reemerge hours later only to find have lost an entire day. QUOTATION IS MISSING--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
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2. Bullying/Mental Health: While the application can be used to spread positivity, it can also be used as a platform for bullying. Some people use the app to criticize other people’s videos, while some users create videos deriding others. This leads to a negative impact on the mental health of everyone involved which can lead to life-threatening situations and decisions. (Short Video Platform - Douyin)&lt;br /&gt;
&lt;br /&gt;
Bullying/Mental Health: While the application can be used to spread positivity, it can also be used as a platform for bullying. Some people criticize other people’s videos, while others create videos for deriding someone. This leads to a negative impact on the mental health of everyone involved, thus resulting in life-threatening situations and decisions. (Short Video Platform - Douyin)--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
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3. Unsafe: On TikTok, there are no restrictions as to who can join the app, so strangers can easily message children and create harmful situations. (Short Video Platform - Douyin)&lt;br /&gt;
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3. Peril: On TikTok, there are no restrictions as to who can join the app, so children would be exposed to harmful information. (Short Video Platform - Douyin)--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In a nutshell, TikTok is a fun, entertaining, and addictive app which has seen a surge in popularity in the last few months. The Tik Tok app also has the potential to become the next big social networking platform. However, the app also aroused lots of concerns like addiction, mental health and unsafe issues.&lt;br /&gt;
&lt;br /&gt;
In a nutshell, TikTok is a fun, entertaining, and addictive app that has seen a surge in popularity in the last few months. The Tik Tok app also has the potential to become the next big social networking platform. However, the app also aroused lots of concerns like addiction, mental health, and unsafe issues. QUOTATION IS MISSING--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:13, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[File:Tik Tok.jpg]]&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
Tik Tok (Douyin) 抖音&lt;br /&gt;
&lt;br /&gt;
ByteDance 字节跳动&lt;br /&gt;
&lt;br /&gt;
Short video platforms 短视频平台&lt;br /&gt;
&lt;br /&gt;
Recommendation algorithm 推荐算法&lt;br /&gt;
&lt;br /&gt;
Celebrity endorsements 名人代言&lt;br /&gt;
&lt;br /&gt;
可补充文中出现过的专有名字--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:14, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions and Answers===&lt;br /&gt;
Q1. What is Tik Tok&lt;br /&gt;
&lt;br /&gt;
Q1. What is Tik Tok?--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Q2. What is different between Douyin to Tik Tok? --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Q3. Why tik tok is so popular around the world? &lt;br /&gt;
&lt;br /&gt;
Q3. Why Tik Tok is so popular around the world? --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:19, 19 December 2020 (UTC) &lt;br /&gt;
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Q4. What are the benefits of Tik Tok?&lt;br /&gt;
&lt;br /&gt;
Q5. What are the concerns about Tik Tok? &lt;br /&gt;
&lt;br /&gt;
A1: Tik Tok is a short-form, video-sharing app that allows users to create and share 15-second videos on any topic. &lt;br /&gt;
&lt;br /&gt;
A2: They are two different versions which can be downloaded in different regions -- douyin in China, and Tik Tok overseas.&lt;br /&gt;
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A2: They are two different versions that can be downloaded in different regions -- Douyin in China, and Tik Tok overseas.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
A3: Celebrity endorsements, Localized content, Easy content creation, sharing, and viewing&lt;br /&gt;
&lt;br /&gt;
A3: Celebrity endorsements, Localized content, Easy content creation, sharing, and viewing.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
A4: Tik Tok can bring moral entertainment and publicity providing new opportunities.  People can learn new things.&lt;br /&gt;
&lt;br /&gt;
A4: Tik Tok can bring moral entertainment and publicity providing new opportunities. additionally, People can learn new things.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
A5: Many worried that Tik tok is addictive, bad for mental health and unsafe.&lt;br /&gt;
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Many worried that Tik Tok is addictive, bad for mental health, and unsafe.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Hans Tung. 8 Lessons from the Rise of Douyin. 2018&lt;br /&gt;
&lt;br /&gt;
* WANG N. Data story of Tiktok[J]. 2019.&lt;br /&gt;
&lt;br /&gt;
* TikTok: Technology Overview and Issues, 2020&lt;br /&gt;
&lt;br /&gt;
* Carissa Brones. Instagram vs. Tik Tok: App Battle 2019&lt;br /&gt;
&lt;br /&gt;
* Tian Fengchang , Huang Xiaozhang 田丰畅，黄孝章. 基于SWOT分析的抖音短视频研究[Research of SWOT Analysis Based onTik Tok Short Video][J].中国商论[China Business], 2020(22):15-17.&lt;br /&gt;
&lt;br /&gt;
* Tian Fengchang, Huang Xiaozhang 田丰畅，黄孝章. 基于SWOT分析的抖音短视频研究[Research of SWOT Analysis Based onTik Tok Short Video][J].中国商论[China Business], 2020(22):15-17.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:21, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
* Xiao B, Koetse M. Chinese Arts Students into Panic Mode after Failing to Register for Exams Amid Announced Reforms[J].&lt;br /&gt;
&lt;br /&gt;
* Xing Lu, Lu ZHicong, 2019, Fifteen Seconds of Fame: A Qualitative Study of Douyin, A Short Video Sharing Mobile Application in China&lt;br /&gt;
&lt;br /&gt;
* Liang Quancun梁全存.“抖音”短视频发展战略研究[Research on the Development Strategy of Tik Tok ][D].北京:北京交通大学[Beijing Jiao Tong University],2019.&lt;br /&gt;
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* Tian Xiaofang 田小芳. 从传播学角度分析抖音短视频的爆红[Analysis of the popularity of Tik Tok from a communication perspective ] [J].现代营销(信息版),[ Modern Marketing (Information Edition),] 2019(06):214-215.&lt;br /&gt;
&lt;br /&gt;
* Wu W. Chinese Animation, Creative Industries, and Digital Culture[M]. Routledge, 2017.&lt;br /&gt;
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'''文献顺序请参照首字母先后顺序！--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:23, 19 December 2020 (UTC)'''&lt;br /&gt;
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==Zhang Yinliu 张银柳==   &lt;br /&gt;
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==Zhang Yinliu 张银柳 student number missed, major missed==   &lt;br /&gt;
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===Four Buddhist Shrines===   &lt;br /&gt;
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Buddism is one of the most important religions in China. As the introduction of Buddhism from India in Han Dynasty, China initiated temple construction and sites of enlightenment and continues today. The Buddhist culture in China went through long history of growth and prosperity, and ultimately turns into historical appeal and cultural charm together with the attractive natural scenery where they pullulated, achieved fame throughout the world. Among the numerous famous Buddha Mountains in China, the most sacred four called Four Buddhist Shrines, are known as Gold Wutai, Silver Putuo, Copper Emei and Iron Jiuhua respectively for they believed to be the holy seats Manjusri Bodhisattva, Avalokitesvara, Samantabhadra Bodhisattva and Ksitigahba Buddhisattva reincarnated to tame certain beings.(Gan Shude, 1998)&lt;br /&gt;
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Buddism is one of the most important religions in China. As the introduction of Buddhism from India in Han Dynasty, China initiated temple construction and sites of enlightenment and continues today. The Buddhist culture in China went through long history of growth and prosperity, [[which]] ultimately turns into historical appeal and cultural charm together with the attractive natural scenery where they pullulated [[and]] achieved fame throughout the world. Among the numerous famous Buddha Mountains in China, the most sacred four called Four Buddhist Shrines, are known as Gold Wutai, Silver Putuo, Copper Emei and Iron Jiuhua respectively for they believed to be the holy seats Manjusri Bodhisattva, Avalokitesvara, Samantabhadra Bodhisattva and Ksitigahba Buddhisattva reincarnated to tame certain beings.(Gan Shude, 1998)--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:42, 19 December 2020 (UTC)&lt;br /&gt;
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===Mount Wutai=== &lt;br /&gt;
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Gold Wutai, also called Wutaishan, Mount Wutai, or Mount Qingliang in Chinese, is a National Natural and Cultural Heritage, National Geopark, as well as the only Buddhist sanctuary Chinese Buddhism and Tibetan Buddhism coexist in perfect harmony. Mount Wutai is located in Wutai County, Xinzhou City, Northeast of Shanxi province in China and is called the top buddhist holy land. Mount Wutai tops the four great mountains of Buddhism for its long history and grandness of temples. It also known as one of the Top 5 Buddhism shrines in the world with Lumpini in Nepal and Sarnath, Buddha-gaya and Kushinagar in India. Buddhism propagated into Mount Wutai from the Eastern Han Dynasty and culminated in Southern and Northern Dynasty when emperors extended temples on a large scale to over 200. The second blossom of Buddhism came during the flourishing Tang Dynasty during which there were more than 30,000 Buddha statues made. There are five main peaks of Wutai Mountain, including Wanghai Peak, Yedou Peak, Guayue Peak, Splendid Peak and Cuiyan Peak. A large number of temples which are the treasury of precious cultural heritage attract thousands of tourists every year,including Xiantong Temple, Nanchan Temple, Foguang Temple and etc. The Great White Tower is the most famous symbol of Mount Wutai lying in Tayuan Temple. （Lu Yao 2011,87）&lt;br /&gt;
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===Mount Putuo=== &lt;br /&gt;
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Silver Putuo, ashram of Avalokiteśvara ( Goddess of Mercy), lies in a 13 square kilometers small island of Zhejiang Province in southeast China. Silver Putuo,also named Mount Putuo, owns the honor of Buddhist Kingdom on the Sea. It is a National 5A Tourist Resort and a world excellent ecological scenic spot with charming island scenery and unique Buddhist charisma of temples, sculptures and etc. Taoism is the earliest religion cultivated on Mount Putuo 2,000 years ago from Qin Dynasty. And Buddhism only get spread on Mount Putuo in Tang Dynasty and later rose to the peak during later Qing Dynasty and the Republic of China, the largest Buddhist Kingdom of ancient China with over 4,000 monks. The three main sacred Buddhist temples are Puji Temple which is the Buddhism center of important Buddhist fairs on Mount Putuo and the biggest temple worshipping Goddess of Mercy on foothill, Fayu Temple which is the second largest temple in most noble and delicate decoration on hillside, and Huiji Temple which is a beautiful garden style temple located the highest on hilltop. The Purple Bamboo Woods is an tourist-attractive scenery point where popele can enjoy the picturesque landsacape around and experience the Buddhist culture. （Jing Tianxing, 2008）&lt;br /&gt;
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===Mount Emei=== &lt;br /&gt;
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Copper Emei refers to Mount Emei in Sichuan province. It is the ashram of Samantabhadra Bodhisattva. Mount Emei usually refers to the Da’e Peak of Mount Emei Scenic Area, the highest peak among the four most sacred Buddhist mountains. It is Listed both as the World Cultural and Natural Heritage among the four Buddhist mountains. By the middle of 1st century, Buddhism spread into Mount Emei from India though Silk Road. Then Wannian Temple (previously known as Puxian Temple) was constructed in the 3rd century, and more than 100 Buddhist temples were built afterwards, making Sichuan a Buddha center for a time. The giant bronze statue of Samantabhadra Bodhisattva in Wannian Temple was casted after a Buddhists group learnt Buddhism from India in Song Dynasty. Mount Emei is not only famous for its Buddhist treasures and precious cultural relics, but also for its four great natural spectacles of sunrise, clouds sea, golden summit and light of Buddha from the mountaintops at Golden Summit. Jast the same as other Buddhist shrines, there are many temples such as Baoguo Temple, Wannian Temple, Fuhu Temple...(百度百科）&lt;br /&gt;
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Copper Emei refers to Mount Emei in Sichuan [[Province]]. It is the ashram of Samantabhadra Bodhisattva. [[(There might need to have an explanation of Samantabhadra Bodhisattva, like which god he is.)]]Mount Emei usually refers to the Da’e Peak of Mount Emei Scenic Area, the highest peak among the four most sacred Buddhist mountains. It is [[listed]] both as the World Cultural and Natural Heritage among the four Buddhist mountains. By the middle of 1st century, Buddhism spread into Mount Emei from India though Silk Road. Then Wannian Temple (previously known as Puxian Temple) was constructed in the 3rd century, and more than 100 Buddhist temples were built afterwards, making Sichuan a Buddha center for a time. The giant bronze statue of Samantabhadra Bodhisattva in Wannian Temple was casted after a Buddhists group learnt Buddhism from India in Song Dynasty. Mount Emei is not only famous for its Buddhist treasures and precious cultural relics, but also for its four great natural spectacles of sunrise, clouds sea, golden summit and light of Buddha from the mountaintops at Golden Summit. [[Just]] the same as other Buddhist shrines, there are many temples such as Baoguo Temple, Wannian Temple, Fuhu Temple...(百度百科）(There might need to have a more specific sources instead of 百度百科 only.)--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:10, 19 December 2020 (UTC)&lt;br /&gt;
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===Mount Jiuhua=== &lt;br /&gt;
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Iron Jiuhua refers to Mount Jiuhua in Southern Anhui province. It is known as the shrine Ksitigarbha Buddha and one of the four most sacred Buddhist mountains in China. Initially named Mount Jiuzi, later it was renamed into Mount Jiuhua according to a poem by great poet Libai during Tang Dynasty - nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. The first religion developed in Mount Jiuhua was Chinese Taoism. Until the middle and late of Tang Dynasty, Buddhism was gradually accepted and spread in Mount Jiuhua along with construction of more Buddhist temples. There are 78 sites which contains precious Buddhist statues, scriptures and antiques, including Huacheng Temple which is the ashram of Ksitigarbha Bodhisattva as well as the ancestral temple of longest history, Tiantai Temple, Longevity Palace, Zhiyuan Temple and etc.（Chen chi,2004）&lt;br /&gt;
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Iron Jiuhua refers to Mount Jiuhua in Southern Anhui province. It is known as the shrine Ksitigarbha Buddha [[(There might need to have an explanation of Samantabhadra Bodhisattva, like which god he is.)]] and one of the four most sacred Buddhist mountains in China. [[It was]] initially named Mount Jiuzi [[and was later renamed to]] Mount Jiuhua according to a poem by great poet [[Li Bai]] during Tang Dynasty - nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. The first religion developed in Mount Jiuhua was Chinese Taoism. Until the middle and  late of  Tang Dynasty, Buddhism was gradually accepted and spread in Mount Jiuhua along with construction of more Buddhist temples. There are 78 sites which contains precious Buddhist statues, scriptures and antiques, including Huacheng Temple which is the ashram of Ksitigarbha Bodhisattva as well as the ancestral temple of longest history, Tiantai Temple, Longevity Palace, Zhiyuan Temple and etc.（Chen chi,2004）--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:10, 19 December 2020 (UTC)&lt;br /&gt;
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===Terms and Expressions=== &lt;br /&gt;
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Buddhist adj.佛教的&lt;br /&gt;
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Buddhism n.佛教&lt;br /&gt;
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shrine n.圣地&lt;br /&gt;
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pullulate v.大量产生&lt;br /&gt;
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Gold Wutai 金五台&lt;br /&gt;
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Silver Putuo 银普陀&lt;br /&gt;
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Copper Emei 铜峨眉&lt;br /&gt;
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Iron Jiuhua 铁九华&lt;br /&gt;
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Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
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Avalokitesvara 观音菩萨&lt;br /&gt;
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Samantabhadra Bodhisattva 普贤菩萨&lt;br /&gt;
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Ksitigahba Buddhisattva 地藏菩萨&lt;br /&gt;
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reincarnate v. 使转世，使化身&lt;br /&gt;
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ashram n. 修行的住所&lt;br /&gt;
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Lumpini n. 蓝毗尼&lt;br /&gt;
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Sarnath  n. 鹿野苑&lt;br /&gt;
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Buddha-gaya  n. 菩提伽耶&lt;br /&gt;
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Kushinagar  n. 拘尸那罗&lt;br /&gt;
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Wanghai Peak 望海峰 &lt;br /&gt;
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Yedou Peak  叶斗峰&lt;br /&gt;
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Guayue Peak 挂月峰&lt;br /&gt;
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Splendid Peak 锦绣峰&lt;br /&gt;
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Cuiyan Peak 翠岩峰&lt;br /&gt;
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Xiantong Temple 显通寺&lt;br /&gt;
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Nanchan Temple 南禅寺&lt;br /&gt;
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Foguang Temple 佛光寺&lt;br /&gt;
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The Great White Tower 大白塔&lt;br /&gt;
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Puji Temple 普济寺&lt;br /&gt;
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Fayu Temple  法雨寺&lt;br /&gt;
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Huiji Temple 惠济寺&lt;br /&gt;
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The Purple Bamboo Woods 紫竹林&lt;br /&gt;
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Wannian Temple 万年寺&lt;br /&gt;
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Baoguo Temple 报国寺 &lt;br /&gt;
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Fuhu Temple 伏虎寺&lt;br /&gt;
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Golden Summit  金顶&lt;br /&gt;
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Huacheng Temple 化城寺&lt;br /&gt;
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Tiantai Temple 天台寺&lt;br /&gt;
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Longevity Palace 百岁宫&lt;br /&gt;
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Zhiyuan Temple 祗园寺&lt;br /&gt;
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nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. -By Libai&lt;br /&gt;
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妙有分二气，灵山开九华。—李白&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1.What are the Four Buddhist Shrines or the Four Sacred Buddhist Mountains ?&lt;br /&gt;
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2.Which bodhissattvas' holy seats are the four mountains belong to respectively?&lt;br /&gt;
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3.Which provinces are the Four Buddhist Shrines in respectivly?&lt;br /&gt;
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4.What are the top five Buddhist shrines in the world?&lt;br /&gt;
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5.Among the Four Buddhist Shrines, which one has the honor of &amp;quot;The Buddhist Kingdom on the Sea&amp;quot;?&lt;br /&gt;
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6.Among the Four Buddhidt Shrines, Whose name is related with the Poet Libai?&lt;br /&gt;
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6.Among the Four Buddhidt Shrines, Whose name is related with the Poet [[Li Bai]]?--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:10, 19 December 2020 (UTC)&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. They are Mount Wutai, Mount Putuo, Mount Jiuhua, Mount Emei.&lt;br /&gt;
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2. They are Manjusri Bodhisattva, Avalokitesvara, Samantabhadra Bodhisattva and Ksitigahba Buddhisattva.&lt;br /&gt;
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3. Mount Wutai is in Shanxi province. Mount Putuo is in Zhejiang province. Mount Emei is in Sichuan province. Mount Jiuhua is in Anhui province.&lt;br /&gt;
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4. Mount Wutai in China, Lumpini in Nepal, and Sarnath, Buddha-gaya and Kushinagar in India.&lt;br /&gt;
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5. Mount Putuo.&lt;br /&gt;
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6. Mount Jiuhua.&lt;br /&gt;
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===References===&lt;br /&gt;
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1.Gan Shude 干树德.(1998).“中国佛教四大名山”之说由何而来?[J] ''Where did the Theory of &amp;quot;Four Famous Mountains of Chinese Buddhism&amp;quot; Come from?'' Knowledege of Literature and History 文史知识,1998(02):76-81.&lt;br /&gt;
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2. Lu Yao 路遥. (2011).《四大菩萨与民间信仰》 ''The Four Bodhisattvas and Folk Belifes''. Shanghai People's Publishing House 上海人民出版社.&lt;br /&gt;
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3. Jing Tianxing 景天星. (2019).汉传佛教四大菩萨及其应化道场演变考述[J] ''Research on the Four Great Bodhisattvas and the Evolution of Their Shrines''.  World religion studies世界宗教研究 2019(04):60-70.&lt;br /&gt;
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4. https://www.chinadiscovery.com/articles/four-sacred-buddhist-mountains-in-china.html&lt;br /&gt;
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5.Chen Chi 陈迟.(2014) 《明清四大佛教名山的形成及寺院历史变迁》''The Formation of the Four Famous Buddhist Mountains in Ming and Qing Dynasties and the Historical Changes of Temples''博士学位论文Doctoral Dissertation, Tsinghua University 清华大学.&lt;br /&gt;
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--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:03, 4 December 2020 (UTC)&lt;br /&gt;
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==Ancient Science and Technology, Compass - 张瑜 Zhang Yu, 202070080625, 英语笔译==&lt;br /&gt;
===Compass===&lt;br /&gt;
Compass, together with papermaking, gunpowder and printing was referred to the Four Great Inventions, celebrated in Chinese culture for their historical significance. Compass, as the ancient China's advanced science and technology, has made great contribution to the navigation undertaking both in China and the rest of the world. China was the first one to find the magnetism that could guide the polarity and use the polarity in the earth's magnetic field and invent the instrument that could guide the directions (Lu and Huang 1995,1). The earliest reference to magnetism in Chinese literature, ''Devil Valley Master'', was found in the 4th century BC. It recorded that &amp;quot;The lodestone makes iron come, or it attracts it&amp;quot;  (China's Foreign Trade 2012，94). &lt;br /&gt;
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Compass, together with papermaking, gunpowder and printing was referred to the Four Great Inventions, celebrated in Chinese culture for their historical significance. Compass, as one of the advanced scientific technologies in the ancient China, has made great contributions to the navigation undertaking both in China and the rest of the world. China was the first country to find the magnetism that could guide the polarity, use the polarity in the earth's magnetic field and invent the instrument that could guide the directions. (Lu and Huang 1995,1) The earliest reference to magnetism in Chinese literature, ''Devil Valley Master'', was found in the 4th century BC. It recorded that &amp;quot;The lodestone makes iron come, or the lodestone attracts iron&amp;quot;  (China's Foreign Trade 2012，94). --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:46, 19 December 2020 (UTC)&lt;br /&gt;
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The earliest south-pointing device appeared in the Warring States Period. It seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth bronze plate. When it stopped, the handle of the spoon would guide the South. Therefore, people all called it &amp;quot;south-governor&amp;quot; or Si Nan. However, in the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects. Therefore, the south-governor has not been applied in a wide range. (Lu and Huang 1995,3-4)&lt;br /&gt;
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In the Song Dynasty, the book ''Wu Jing Zong Yao'' (''General Military Principles''), written by Zeng Gongliang and Ding Du in 1044, recorded a magnetic device used as a &amp;quot;direction finder&amp;quot;, called &amp;quot;south-pointing fish&amp;quot;. It made by thin iron slice and was magnetized by the earth's magnetic field. When people made use of it, they could float it in a bowl of water to guide the south. The device was recommended as a means of orientation &amp;quot;in the obscurity of the night&amp;quot;. Although it effectively avoided the shortcomings of the south-governor, the magnetism acquired from the magnetic field was weak, resulting in the decreased in practical values. (Lu and Huang 1995,4)&lt;br /&gt;
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In the South Song Dynasty, the book ''Dream Pool Essays'' written by Shen Kuo recorded the first magnetic needle compass, which was the combination of the magnetic needle and plate. This kind of compass had meridian indicator needle, which directed the south and the north. There are two types of magnetic needle compass, that is wet suspension compass and dry suspension compass. The wet suspension compass was used with its needle floating on the water (Lu and Huang 1995,11). And the dry suspension compass was a wooden frame crafted in the shape of a turtle hung upside down by a board, with the lodestone sealed in by wax. When floating, the needle at the tail would always point at the northern cardinal direction. (China's Foreign Trade 2012，94)&lt;br /&gt;
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Compass, as an instrument to guide the direction, had played an important role in people's daily life and navigation undertaking. At the beginning, the compass was used for geomancy (prognostication) to determine the best location and time for things such as burials and weddings. It was recorded that Qin emperor used the diving board and compass in royal court to affirm his right to the throne. The original shape of the compass made people believe that the square plate symbolized earth and the circular disc symbolized heaven. And around the circular disc, there inscribed the Eight Trigrams, the 24 directions (based on the constellations) and the 28 lunar mansions (based on the constellations dividing the Equator). Although the geomancy was a kind of superstition, the compass was endowed with people's wishful thinking. Nowadays many people still use the concepts of Feng Shui to decide the location of buildings and enterprises as well as the auspicious time for open ceremony. (China Week 2003,35)&lt;br /&gt;
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Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings. However, relying on the celestial phenomena posed another problem. When the navigators met the rainy days, they were unable to distinguish the directions according to the celestial phenomena. The appearance of compass made up for the defect. The compass used for navigation started from the end of Northern Song Dynasty. In the Ming Dynasty, it was with the compass that the navigator, Zheng He, could made seven voyages to the western countries. The voyages expanded the foreign trade and promoted the exchanges of economy and cultures between China and western countries. The compass had played an important role in providing guidance.(Lu and Huang 1995,12-13)&lt;br /&gt;
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The compass was introduced to the Arab world and Europe during the Northern Song Dynasty (China Week 2003,35). After the compass entered into the Europe, the Europeans further improved the compass and invented the dry compass with fixed support. Until 16th century, they invented the gimbal to keep the dry compass in a horizontal level. The application of compass in Europe promoted the coming of the age of sail. The great philosopher Marx pointed that Europe opened the global market and established the colony via the compass.(Lu and Huang 1995,16)&lt;br /&gt;
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[[File:Ming_Compass.jpg|250px|thumb|left|Diagram of a Ming dynasty mariner's compass, Public Domain license by Wikimedia. Click [https://en.wikipedia.org/wiki/Four_Great_Inventions#/media/File:Ming-marine-compass.jpg] for original source.]]&lt;br /&gt;
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===References===&lt;br /&gt;
*&amp;quot;FOUR Great Inventions&amp;quot;[四大发明]. China's Foreign Trade[中国外贸].China Academic Journal Electronic Publishing House.[中国学术期刊电子出版社].05(2012):94.&lt;br /&gt;
*&amp;quot;Compass, One of the Four Great Inventions of Ancient China&amp;quot;[指南针——中国四大发明之一]. China Week[中华周刊].China Academic Journal Electronic Publishing House.[中国学术期刊电子出版社].04(2003):35.&lt;br /&gt;
*鲁才全Lu Caiquan，黄惠贤Huang Huixian. 《中华文明光耀寰宇 中国古代的“四大发明”及中华医药学》[Chinese Civilization Shines in the World, The &amp;quot;Four Great Inventions&amp;quot; and Traditional Chinese Medicine]. 1995:1-16.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
*Four Great Inventions 四大发明&lt;br /&gt;
*''Devil Valley Master'' 鬼谷子&lt;br /&gt;
*lodestone 天然磁石&lt;br /&gt;
*south-governor 司南&lt;br /&gt;
*''Wu Jing Zong Yao'' (''General Military Principles'') 《武经总要》&lt;br /&gt;
*Zeng Gongliang 曾公亮 &lt;br /&gt;
*Ding Du 丁度&lt;br /&gt;
*south-pointing fish 指南鱼&lt;br /&gt;
*''Dream Pool Essays'' 《梦溪笔谈》&lt;br /&gt;
*wet suspension compass 水罗盘&lt;br /&gt;
*dry compass 旱罗盘&lt;br /&gt;
*Eight Trigrams 八卦&lt;br /&gt;
*gimbal 常平架&lt;br /&gt;
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===Questions===&lt;br /&gt;
*What's the earliest reference to magnetism in Chinese literature? &lt;br /&gt;
*When did the earliest south-pointing device appear? &lt;br /&gt;
*Why had the south-governor not been applied in a wide range?&lt;br /&gt;
*What are the differences between the south-governor and the south-pointing fish?&lt;br /&gt;
*What are the two types of magnetic needle compass? &lt;br /&gt;
*What's the symbol of the original shape of the compass? &lt;br /&gt;
*What did the navigator depend on before the invention of the compass?&lt;br /&gt;
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===Answers===&lt;br /&gt;
*The earliest reference was ''Devil Valley Master'', found in the 4th century BC.&lt;br /&gt;
*In the Warring States Period.&lt;br /&gt;
*In the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects.&lt;br /&gt;
*The south-governor seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth plate. When it stopped, the handle of the spoon would guide the South. While the south-pointing fish was made by thin iron slice and was magnetized by the earth’s magnetic field. When people made use of it, they could float it in a bowl of water to guide the south.&lt;br /&gt;
*Wet suspension compass and dry suspension compass.&lt;br /&gt;
*The square plate symbolizes earth and the circular disc symbolizes heaven.&lt;br /&gt;
*Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings.&lt;br /&gt;
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== Strange Stories from a Chinese Studio  Zhang Yujie张毓婕 ==&lt;br /&gt;
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''Strange Stories from a Chinese Studio'', abbreviated as &amp;quot;Liao Zhai&amp;quot;, is a collection of short stories in classical Chinese created by Chinese Qing Dynasty novelist Pu Songling. The earliest copy of it can date back to the Kangxi period of the Qing Dynasty.&lt;br /&gt;
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===1. The Introduction of the Author-Pu Songling===&lt;br /&gt;
Pu Songling was born in a scholarly family. In his early years, he wanted to take part in the imperial examinations to become an official. Unfortunately, after repeated attempts, he could only make a living by teaching. He had been interested in folk stories about ghosts and gods since he was a child. In order to collect materials, Pu Songling once opened a teahouse in front of his home. People who come to drink tea can use a story to replace tea money. Each time he was told a wonderful story, Pu Songling would polish it after he went home. In this way, Pu Songling collected a large number of bizarre stories, and after sorting and processing, he included many of them in ''Strange Stories from a Chinese Studio''.&lt;br /&gt;
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Pu Songling was born in a scholarly family. In his early years, he wanted to take part in the imperial examinations to become an official. Unfortunately, after repeated attempts, he could only make a living by teaching. He had been interested in folk stories about ghosts and gods since he was a child. In order to collect materials, Pu Songling once opened a teahouse in front of his house. People who come to drink tea can use a story to replace tea money. Each time he was told a wonderful story, Pu Songling would polish it after he went home. In this way, Pu Songling collected a large number of bizarre stories, and after sorting and processing, he put many of them in ''Strange Stories from a Chinese Studio''&lt;br /&gt;
--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Contents and Themes===&lt;br /&gt;
The whole book of ''Strange Stories from a Chinese Studio'' has nearly 500 chapters which can be divided into three types: &lt;br /&gt;
&lt;br /&gt;
One is the love story, which occupies the largest proportion of the book. Most of the main characters in these stories are not afraid of feudal ethics and bravely pursue free love. Representative works of this type include ''Lotus Fragrant'', ''Xiao Xie'', ''Lian Cheng'', ''Huan Niang'', ''Crow Head'' and so on. The second is to criticize the imperial examination system for its destruction of scholars. ''Ye Sheng'', ''Si Wen Lang'', ''Yu Qu E'' and ''Wang Zian'' are all such works. The third is to expose the brutality of the ruling class and their oppression of the people, which is of great social significance, such as ''Xi Fangping'', ''Promoting Weaving'', ''Dream Wolf'', and ''Mei Girl''.&lt;br /&gt;
&lt;br /&gt;
In despair, Pu Songling expressed his desire for a better future with fantasy fairies, ghosts and fox spirits. He reflected the real life and put forward many important social problems. He strongly criticized the shortcomings of the examination system, the spirit of feudal ethics, and supported for free love.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The whole book of ''Strange Stories from a Chinese Studio'' has nearly 500 chapters which can be divided into three types: &lt;br /&gt;
&lt;br /&gt;
One is the love story, which occupies the largest proportion of the book. Most of the main characters in these stories are not afraid of feudal ethics and bravely pursue free love. Representative works of this type include ''Lotus Fragrant'', ''Xiao Xie'', ''Lian Cheng'', ''Huan Niang'', ''Crow Head'' and so on. The second is to criticize the imperial examination system for its destruction of scholars. ''Ye Sheng'', ''Si Wen Lang'', ''Yu Qu E'' and ''Wang Zian'' are all such works. The third is to expose the brutality of the ruling class and their oppression of the people, which is of great social significance, such as ''Xi Fangping'', ''Promoting Weaving'', ''Dream Wolf'', and ''Mei Girl''.&lt;br /&gt;
&lt;br /&gt;
Pu Songling himeself suffered from his repeated failure in the imperial examination. In despair, Pu Songling expressed his desire for a better future with fantasy fairies, ghosts and fox spirits. He reflected the real life and put forward many important social problems. He strongly criticized the shortcomings of the examination system, the spirit of feudal ethics, and supported for free love.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:10, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===3. A Typical Story===&lt;br /&gt;
Qiao Sheng, a native of Jinning(a place in Yunnan province), was a honest young man with outstanding talents. At that time, a wealthy middle-aged man wanted to choose a son-in-law for his daughter, Lian Cheng. Although Qiao Sheng was very poor, he was appreciated by Lian Cheng because of his integrity and talents, but Lian Cheng was forced to be engaged to the son of a salt merchant. Soon afterwards Lian Cheng got a strange disease and the only way to save her was to make a kind of medicine with an adult man's chest meat. Lian Cheng’s father was extremely worried and promised to marry his daughter to whoever agreed to save her. Without hesitation, Qiao Sheng came to Lian Cheng and cut off the meat from his chest. But after Lian Cheng recovered from her illness, her father broke his word and refused to marry Lian Cheng to Qiao Sheng. In a few months, Lian Cheng died of sadness. Qiao went to mourn before her death, and also died of excessive grief. In the underworld, the two met again. With the help of a friend, Qiao Sheng and Lian Cheng both came back to life. However, the salt merchant bribed the judge and he sentenced Lian Cheng to marry the son of the salt merchant. Lian Cheng did not eat and drink at the salt merchant’s home, and she even tried to hang herself. The salt merchant had no choice but to let Lian Cheng go home. In the end, Qiao Sheng and Lian Cheng had a happy ending.&lt;br /&gt;
&lt;br /&gt;
Qiao Sheng, a native of Jinning(a place in Yunnan Province), was a honest young man with outstanding talents. At that time, a wealthy middle-aged man wanted to choose a son-in-law for his daughter, Lian Cheng. Although Qiao Sheng was very poor, he was appreciated by Lian Cheng because of his integrity and talents, but Lian Cheng was forced to be engaged to the son of a salt merchant. Soon afterwards Lian Cheng got a strange disease and the only way to save her was to make a kind of medicine with an adult man's chest meat. Lian Cheng’s father was extremely worried and promised to marry his daughter to whoever agreed to save her. Without hesitation, Qiao Sheng came to Lian Cheng and cut off the meat from his chest. But after Lian Cheng recovered from her illness, her father broke his word and refused to marry Lian Cheng to Qiao Sheng. In a few months, Lian Cheng died of sadness. Qiao went to mourn before her death, and also died of excessive grief. In the underworld, the two met again. With the help of a friend, Qiao Sheng and Lian Cheng both came back to life. However, the salt merchant bribed the judge and he sentenced Lian Cheng to marry the son of the salt merchant. Lian Cheng did not eat and drink at the salt merchant’s home, and she even tried to hang herself. The salt merchant had no choice but to let Lian Cheng go home. In the end, Qiao Sheng and Lian Cheng had a happy ending.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:23, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===4. Features of the Book===&lt;br /&gt;
4.1 The stories are bizarre and full of changes. The author uses fairies and ghosts to describe the human society, making the novels mysterious and bizarre. What’s more, readers are captivated by the twist and turn of the plot.&lt;br /&gt;
&lt;br /&gt;
4.2 Making the plants and animals full of natural characters and the features of the human. The heroines of these novels have both human thoughts and feelings as well as the features of animal’s appearance. The author perfectly unifies the two to achieve the effect of &amp;quot;forgetting to be alien&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.3 The languages are concise and comprehensive, pregnant with meaning widely.&lt;br /&gt;
&lt;br /&gt;
4.4 Using a lot of descriptions of environment, appearance, and mentality as well as vivid languages to create distinctive characters. For example, Ying Ning, a female character in the book, was living in a courtyard with lively birds and the fragrance of colorful flowers, and her living room was bright and clean. The environment was in harmony with her beautiful appearance and innocent temperament.&lt;br /&gt;
&lt;br /&gt;
4.1 The stories are bizarre and full of changes. The author uses fairies and ghosts to describe the human society, making the novels mysterious and bizarre. What’s more, readers are captivated by the twist and turn of the plot.&lt;br /&gt;
&lt;br /&gt;
4.2 Making the plants and animals full of natural characters and the features of the human. The heroines of these novels have both human thoughts and feelings as well as the features of animal’s appearance. The author perfectly unifies the two to achieve the effect of &amp;quot;forgetting to be alien&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.3 The languages are concise and comprehensive, pregnant with meaning.&lt;br /&gt;
&lt;br /&gt;
4.4 Using a lot of descriptions of environment, appearance, and mentality as well as vivid languages to create distinctive characters. For example, Ying Ning, a female character in the book, was living in a courtyard with lively birds and the fragrance of colorful flowers, and her living room was bright and clean. The environment was in harmony with her beautiful appearance and innocent temperament.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
teahouse 茶馆&lt;br /&gt;
&lt;br /&gt;
scholarly family书香世家&lt;br /&gt;
&lt;br /&gt;
imperial examination 科举制度&lt;br /&gt;
&lt;br /&gt;
underworld 阴曹地府&lt;br /&gt;
&lt;br /&gt;
fox spirit 狐妖&lt;br /&gt;
&lt;br /&gt;
salt merchant 盐商&lt;br /&gt;
&lt;br /&gt;
forgetting to be alien 忘为异类&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
 &lt;br /&gt;
1.How many chapters are there in the Strange Stories from a Chinese Studio?&lt;br /&gt;
&lt;br /&gt;
2.How did Pu Songling collect stories from others?&lt;br /&gt;
&lt;br /&gt;
3.Do you know the types of the stories in this book?&lt;br /&gt;
&lt;br /&gt;
4.Please list some representative works of love story in this book.&lt;br /&gt;
&lt;br /&gt;
5.In the typical story, when Lian Cheng was ill, what was the only way to save her?&lt;br /&gt;
&lt;br /&gt;
6.Could you please list one or two features of the book?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. Nearly 500.&lt;br /&gt;
&lt;br /&gt;
2. Pu Songling opened a teahouse in front of his home and let people who come to drink tea use a story to replace tea money.&lt;br /&gt;
&lt;br /&gt;
3. One is love story, the second is to criticize the imperial examination system and the third is to expose the brutality of the ruling class and their oppression of the people.&lt;br /&gt;
&lt;br /&gt;
4. ''Lotus Fragrant'', ''Xiao Xie'', ''Lian Cheng'', ''Huan Niang'', ''Crow Head''.&lt;br /&gt;
&lt;br /&gt;
5. The only way to save her was to make a kind of medicine with an adult man's chest meat.&lt;br /&gt;
&lt;br /&gt;
6.  The stories are bizarre and full of changes. The author uses fairies and ghosts to describe the human society, making the novels mysterious and bizarre. What’s more, readers are captivated by the twist and turn of the plot.&lt;br /&gt;
&lt;br /&gt;
Making the plants and animals full of natural characters and the features of the human. The heroines of these novels have both human thoughts and feelings as well as the features of animal’s appearance. The author perfectly unifies the two to achieve the effect of &amp;quot;forgetting to be alien&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
The languages are concise and comprehensive, pregnant with meaning widely.&lt;br /&gt;
&lt;br /&gt;
Using a lot of descriptions of environment, appearance, and mentality as well as vivid languages to create distinctive characters. For example, Ying Ning, a female character in the book, was living in a courtyard with lively birds and the fragrance of colorful flowers, and her living room was bright and clean. The environment was in harmony with her beautiful appearance and innocent temperament.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
&lt;br /&gt;
===Confucianism===&lt;br /&gt;
&lt;br /&gt;
In the Pre-Qin period, scholars from different schools were gathering together to share their opinions toward the same issues and try(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;tried&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:30, 18 December 2020 (UTC) to figure out the best way to solve problems at that time, forming a famous situation of “One-hundred schools of thought”. Among them, Confucianism, with representative figures of Confucius, Mencius and Xunzi, was prominent and has caught many attentions (Chen Jianhua, 2020, 43). Even at present, it is also one of the most important schools with far-reaching influence in Chinese history of thought.&lt;br /&gt;
&lt;br /&gt;
Confucius is the founder of Confucianism. Living in the Spring and Autumn Period with many contradictions in the society, Confucius acknowledged those turbulences and wars threatened(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;threatening&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:38, 18 December 2020 (UTC) the traditional culture as more and more common people suspected, even criticized, the traditional culture, therefore, Confucius aimed to rebuild the balance in mind and seek for the new harmony in the society by reshaping people’s mind, which was the general background of the emergency of Confucianism (Liu Shiyu, 2018, 80). However, to establish a school and cure people’s mind is a tough work, especially at that time, as Emperor Shi Huangdi promoted legalism and prohibited Confucianism. In order to govern the whole nation, unified mind was essential, so the emperor even buried many disciples committed to Confucianism and incinerated many masterpiece, causing profoundly negative effect, which was famous as “Burning of Books and Burying of Scholars” (“焚书坑儒”). &lt;br /&gt;
&lt;br /&gt;
However, as Confucianism was the treasure of traditional Chinese culture consisting quite a few thoughts with far-reaching meaning in our life, it was boasted by Dong Zhongshu in Han Dynasty. As Confucianism had some flaw(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;flaws&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:38, 18 December 2020 (UTC) in Pre-Qin Dynasty, Dong Zhongshu integrated part of thought from Legalism and Daoism to further its development (Ren Anjing, 2020, 54), and applied it in the governance. Since then, the model of governing the country with Confucian ethics and morality as the center, with the strict punishment of the jurist as the auxiliary with Taoist power politics as the means, basically conformed to the national conditions of ancient China, and became the ruling class of all dynasties to pursue the unchanged rule of the country.&lt;br /&gt;
&lt;br /&gt;
In Confucianism, benevolence stands in the center. It proposes that the governor should love and be kind to his people. Only in that way, he could govern the whole nation as long as possible and the nation can(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;could&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:38, 18 December 2020 (UTC) survive whatever disaster it encountered. In our daily life, Confucianism has its cues in every part of life, and we also advocate Confucianism and regulate our behaviors according to it.&lt;br /&gt;
&lt;br /&gt;
===Taoism or Daoism===&lt;br /&gt;
&lt;br /&gt;
Taoism also named for Daoism. Its representative figures are world-renowned Chinese thinkers: Lao-Tzu and Zhuang Zhou. There are quite a few famous masterworks of Taoism, among which the most famous is Tao Te Ching (《道德经》) (Song Liyan, 2020, 10). Although Confucianism has far-reaching influence on Chinese society, Daoism also stands prominently in the history of Chinese thought as it has the deepest influence on(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;on the development of&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:37, 18 December 2020 (UTC)Chinese philosophy, literature, science and technology, art, music, health, religion and so on, so we need to know it comprehensively. &lt;br /&gt;
&lt;br /&gt;
First, the same with Confucianism, Taoism also emerged in the Pre-Qin Dynasty and was part of “One-Hundred School of Thoughts(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;One-Hundred School of Thoughts (百家争鸣)&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:37, 18 December 2020 (UTC)”. And in the Spring and Autumn Period, Lao-Tzu concluded the quintessence of scattered thoughts about Daoism into a systematic thought, which symbolizes the form of Daoism. After Lao-Tzu, the school of Daoism was divided into different part, with Huang-Lao Thought being the most famous among others. Then, Lu Buwei compiled “Lü shih ch'un ch'iu” (《吕氏春秋》), also referred to The Annuals of Lu Buwei, which set Daoism as its main thought and integrated other schools, landing the preparation for the great unity then(Ren Anjing, 2020, 55). &lt;br /&gt;
&lt;br /&gt;
However, after the foundation of Qin-Dynasty, Emperor Shi Huangdi turned to Legalism. In the Han Dynasty, the governor chose(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;selected&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:37, 18 December 2020 (UTC) Daoism as the official thought to unify the whole nation, which symbolized the its resurgence, and even Dong Zhongshu absorbed the positive points of Daoism and integrated them into Confucianism in his governance. When it came to Sui and Tang Dynasty, Daoism became prominent once again as Wang Yangming and other important figures combined its thought with Buddhism. At present, the thought of Daoism also present in our life, especially in management and business.&lt;br /&gt;
&lt;br /&gt;
===Legalism===&lt;br /&gt;
&lt;br /&gt;
Legalism is a famous school of thought in Chinese history with the rule of law as(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;at&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:49, 18 December 2020 (UTC) its core. Unlike Confucianism and Daoism, people promoting Legalism are not only ideologists, but also activists focusing on the practical use of laws or regulations.&lt;br /&gt;
&lt;br /&gt;
Legalism was born quite late, but it came to take its form very quickly as Emperor Shi Huangdi initiated the period of governing the country according to the rule of law, falling into the category of Legalism. Since then, each monarch, to some extent, follows this principle. In this way, Legalism keeps its status and influences Chinese governance greatly (He Lele, 2020, 59). Even at present, we still promote the rule of law as it can ensure the fairness and justice of the judgment and safeguard the common people at large. Legalism advocates clear rewards and punishment(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;punishments&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:55, 18 December 2020 (UTC) according to laws and regulations. To that end, Provisions should not be set arbitrary, rather, it should be clear and explicit with official formulation, and governments are responsible for informing common people so as to ensure that everyone has known that and would follow regulations.&lt;br /&gt;
&lt;br /&gt;
===Mohism===&lt;br /&gt;
&lt;br /&gt;
Mohism, also referred to Moism and developed by academic scholars studying under the leadership of ancient Chinese philosopher Mozi, was one of the four main philosophic schools from around 770–221 BC (during the Spring and Autumn and Warring States periods), about the same time as Confucianism, Taoism and Legalism. Different from three schools listed above, Mohism focuses on natural science and logic, rational thought (Chen Jun, 2020, 145). A tradition of Mohism, a disciplined group, goes that disciples in official states, wherever he is, should promote the school’s proposition in his or her official states, and their salary must also be dedicated to the group.&lt;br /&gt;
The development of Mohism has former and later period with different focus. The early thought mainly involves the social politics, ethics and the ideology, paying attention to the present world war, and the later(&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;latter&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:57, 18 December 2020 (UTC) contributed greatly in logic, closer to the field of scientific research. The main ideas of Mohism are equal love between people (Jian Ai) and against the war of aggression (Fei Gong). They also advocate economy, oppose waste (Jie Yong), attach importance to inheriting the cultural wealth of their fore-owners (Ming Gui), master the laws of nature (Tian zhi) and so on.&lt;br /&gt;
&lt;br /&gt;
During the Warring States Period, Mohism mastered many practical techniques which were useful for the development of society, so it has attracted quite a few people to follow him. Even at present, it is widely accepted that top two influential schools of thought fall in Confucianism and Mohism (Zhou Baoyan, 2020, 53). However, as Mohism promoted itself political status, many monarchs oppressed its development. Gradually, it (&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;has lost&amp;lt;/span&amp;gt;)--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 13:57, 18 December 2020 (UTC)lost the foundation of survive and came to extinct. Scholars failed to re-dig out the its precious thoughts from historical records until the end of the Qing Dynasty, After the arduous efforts of its disciples in recent years, the basic growing course has been found out, and the theories and thought appeared to recover and catch many scholars’ attention with self-advancement.&lt;br /&gt;
&lt;br /&gt;
1.	陈珂均. 先秦四大家看利与义[J]. 中学生天地, 2016(3): 42-43.&lt;br /&gt;
&lt;br /&gt;
2.	陈建华. 孔孟之间的儒家人性世界[J]. 兰州学刊, 2020(B82).&lt;br /&gt;
&lt;br /&gt;
3.	王木林. 先秦儒家经济伦理思想阐释[J]. 山西财政税务专科学校学报, 2020(4): 45-47,51.&lt;br /&gt;
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4.	刘世宇. 命名与秩序——先秦儒家“名”思想引论[J]. 北京大学学报(哲学社会科学版), 2018(5): 73-81.&lt;br /&gt;
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5.	吴全兰. 论道家思想对西汉以儒学为主导的意识形态的补充与调节[J]. 中原文化研究, 2020(6): 20-27.&lt;br /&gt;
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6.	任安静. 探析儒家文化与道家文化中的美学思想[J]. 美术教育研究, 2020(19): 54-55.&lt;br /&gt;
&lt;br /&gt;
7.	宋丽艳. 论道家的自然理论及其实践智慧[J]. 黑龙江社会科学. 2020(4): 9-15.&lt;br /&gt;
&lt;br /&gt;
8.	王进文. “起礼义,制法度”——从“礼”的结构与功能探讨荀子对法家思想的吸收与改造[J]. 孔子研究. 2020(4): 135-151.&lt;br /&gt;
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9.	初婉琳. 浅析先秦时期的大一统思想——以法家为例[J]. 新西部. 2020(17): 14, 96.&lt;br /&gt;
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10.	和乐乐. 强国之道的反思:论秦代的法家思想及其走向[J]. 北京印刷学院学报. 2020(6): 58-61.&lt;br /&gt;
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11.	周宝砚. 墨家民本思想及其当代价值[J]. 学理论. 2020(11): 53-54.&lt;br /&gt;
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12.	程军. 现代“工匠精神”的传统道家思想来源——基于《庄子》匠人寓言的解读[J]. 理论月刊. 2020(9): 144-153.&lt;br /&gt;
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13.	马腾. 论清华简《治邦之道》的墨家思想[J]. 厦门大学学报(哲学社会科学版). 2019(5): 63-73.&lt;br /&gt;
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14.	魏义霞. 先秦哲学与中国哲学的源头[J]. 首届“中华传统文化与华夏文明探源”国际论坛论文集. 2018.&lt;br /&gt;
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==Ancient Writing and Painting Tool, Writing Brush - Zhao Xi 赵茜 202070080627 英语笔译==&lt;br /&gt;
&lt;br /&gt;
====A. Writing Brush====&lt;br /&gt;
&lt;br /&gt;
Writing brush is a writing and painting tool originated from China and is one of the four treasures of the study, writing brushes, ink sticks, paper and inkstones. Its history dates back to the Neolithic Age, which has been 5000 or 6000 years up to now. However, the physical object of writing brush was found in a Chu tomb in the Warring States periods. (Du Xiaofeng 2019, 31)&lt;br /&gt;
&lt;br /&gt;
Writing brush, a writing and painting tool originated from China, is one of the four treasures of the study which also includes writing brushes, ink sticks, paper and inkstones. Its history dates back to the Neolithic Age, which has been 5000 or 6000 years up to now. However, the physical object of writing brush was found in a Chu tomb in the Warring States periods. (Du Xiaofeng 2019, 31)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:11, 17 December 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
In the Qin dynasty, writing brush had its own basic model. It is said that the General Meng Tian in the Qin dynasty who was a supervisor of the construction of the Great Wall invented the writing brush. Therefore, in the hometown of writing brush --- Hengshui, Hubei province and Huzhou, Zhejiang province, people commemorate and celebrate the invention of writing brush by making dumplings and drinking on the 3rd of the 3rd lunar month. (Yan Hao 2012, 14)&lt;br /&gt;
&lt;br /&gt;
In the Qin dynasty, writing brush had its own basic model. It is said that the General Meng Tian in the Qin dynasty who was a supervisor of the construction of the Great Wall invented the writing brush. Therefore, in the home of writing brush --- Hengshui of Hubei province and Huzhou of Zhejiang province, people commemorate and celebrate the invention of writing brush by making dumplings and drinking on the third day of the third lunar month. (Yan Hao 2012, 14)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:36, 17 December 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
In the Han dynasty, as the calligraphy grew vigorously, the making technique of writing brush has become more mature. The development of calligraphy promoted the shape of writing brush with excellent workmanship and started to pursue the decoration except for its function.  The diameter of the pen-holder was from thick above to thinner below.It was no longer just a writing and painting tool, but an object worthy of appreciating and collecting. What's more, writing brush-making industry came into being and grew gradually which made writing brush-making as a professional technology. Compared with the Qin dynasty, the writing brush in the Han dynasty was made more exquisite as people paid more attention to the comfort and feeling when they used it to write or paint.&lt;br /&gt;
&lt;br /&gt;
In the Han dynasty, as the calligraphy grew vigorously, the making technique of writing brush has become more mature. The development of calligraphy promoted the shape of writing brush with excellent workmanship and started to pursue the decoration except for its function.  The diameter of the pen-holder was from thick above to thinner below.It was no longer just a writing and painting tool, but an object worthy of appreciating and collecting. What's more, writing brush-making industry came into being and grew gradually, which made writing brush-making as a professional technology. Compared with the Qin dynasty, the writing brush in the Han dynasty was made more exquisite as people paid more attention to the comfort and feeling when they used it to write or paint.(Quote is missing)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:19, 17 December 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
In the Wei and Jin dynasties, the process of making writing brush was fundamentally similar to that in the previous dynasties. It only had little difference in the length and diameter of pen-holder for the user's convenience.(Du Xiaofeng 2019, 35) &lt;br /&gt;
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The Sui and Tang dynasties were the flourishing period when the writing brush-making industry developed rapidly in Xuanzhou. In the Tang dynasty, the first professional producing place of writing brush came into being in the history, which made Xuanzhou of Anhui province play a role as the center of writing brush manufacturing all over the country. There were two masters of making writing brush. One was Mr.Chen and the other was Mr.Zhuge. The brushes produced in this place were called Xuan Chinese writing brushes and were much loved by writers, calligraphers, emperors and ministers. Materials for their head mainly was rabbit hair. For the selected superior material and exquisite workmanship, the writing brushes became tributes to the imperial household. (Du Xiaofeng 2019, 36) &lt;br /&gt;
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The Sui and Tang dynasties were the flourishing period when the writing brush-making industry developed rapidly in Xuanzhou. In the Tang dynasty, the first professional producing place of writing brush came into being, which made Xuanzhou of Anhui province become the center of writing brush manufacturing across the country. There were two masters of making writing brush. One was Mr.Chen and the other was Mr.Zhuge. The brushes produced in this place were called Xuan Chinese writing brushes and were much loved by writers, calligraphers, emperors and ministers. Materials for their head mainly were rabbit hair. For the selected superior material and exquisite workmanship, the writing brushes became tributes to the imperial household. (Du Xiaofeng 2019, 36) --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:19, 17 December 2020 (UTC)Li Lili&lt;br /&gt;
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By the Song dynasty, writing brush manufacturing technology reached its peak. Xuanzhou was still the center of manufacturing and many new types of brushes were produced and the classification of brushes was more specialized. However, Xuan writing brush gradually lost its former level in workmanship because every place across the country had its own way to make writing brushes. The best choice of materials for the pen heads was not only the rabbit hair any more. (Quote is missing)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:19, 17 December 2020 (UTC)Li Liili&lt;br /&gt;
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A batch of masters of making brushes appeared in the Huzhou of Zhejiang province in the Yuan and Ming dynasties, such as Wu Yunhui, Feng Yingke and Lu Wenbao. Writing brush made in this place, known as Hu writing brush, was characterized by pointed tip, even brush hair, round brush belly and flexible hair. Since the Qing dynasty, Huzhou has been the center of writing brush manufacturing. At the same time, several well-known writing brushes emerged in succession, among which writing brushes respectively made by Li Dinghe in Shanghai and made by Wu Yunhui in Jiangxi have won prizes in the international fairs. (Xu Qing 2013, 89)&lt;br /&gt;
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A batch of masters of making brushes appeared in the Huzhou of Zhejiang province in the Yuan and Ming dynasties, such as Wu Yunhui, Feng Yingke and Lu Wenbao. Writing brush made in this place, known as Hu writing brush, was characterized by pointed tip, even brush hair, round brush belly and flexible hair. Since the Qing dynasty, Huzhou has been the center of writing brush manufacturing. At the same time, several well-known writing brushes emerged in succession, among which writing brushes respectively made by Li Dinghe in Shanghai and made by Wu Yunhui in Jiangxi have won prizes in the international fairs. (Xu Qing 2013, 89)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:19, 17 December 2020 (UTC)Li Lili&lt;br /&gt;
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In the late Qing dynasty, with the incoming of western paintings, traditional Chinese realistic paintings began to fail and the writing brush was renovated. There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou. At present, painting brushes produced in Shanghai, Suzhou and Beijing also enjoy high reputation. (Xu Qing 2013, 91)&lt;br /&gt;
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In the late Qing dynasty, with the introduction of western paintings into China, traditional Chinese realistic paintings went downhill and thus the writing brush was renovated. There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou. At present, painting brushes produced in Shanghai, Suzhou and Beijing also enjoy high reputation. (Xu Qing 2013, 91)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:19, 17 December 2020 (UTC)Li Lili&lt;br /&gt;
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Writing brush can be classified according to the usage, shape, material of its head and so on. Brushes can be used to write or paint. Based on its shape, there are brushes with round hair and brushes with pointed hair. What’s more, materials for the head part of writing brushes includes goat hair, yellow weasel hair, black rabbit hair, pig hair, mouse mustache, and hair of buffalo’s tail. According to the hairs texture, Chinese brushes can be divided into the one with soft hair, mixed hair and hard hair. Considering the length of the tip, writing brush can be categorized as three types: small one, middle one and large one. (Wang Xiaaojuan 2013, 45)&lt;br /&gt;
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Different types of brushes may possess different functions and usages. Writers prior to the Song dynasty used brushes with hard hair to write. By the Ming and Qing dynasties, as writers wrote larger Chinese characters, brushes used by them were changed from brushes with hard hair to brushes made of goat hair, namely goat-hair brushes, because the length of goat hair was apt to write big characters. Generally, people often use brushes with hard hair to write cursive script and semi-cursive script and always use hard-hair brushes to write regular script, official script and seal script. As for choosing the tip of a writing brush, we should choose appropriate length. If the tip of a brush is long, the tip will not be easy to master, but the brush can contain a lot of ink, suitable for writing cursive script. (Quote is missing)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:19, 17 December 2020 (UTC)Li Liili&lt;br /&gt;
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As a tool and carrier for inheriting and promoting Chinese culture and art, writing brush has forged a unique art of Chinese calligraphy and the distinctive artistic style of Chinese painting. Each dynasty in Chinese history has witnessed famous craftsmen appearing and fine works produced, which helped form a profound cultural accumulation. (Quote is missing)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:19, 17 December 2020 (UTC)Li Liili&lt;br /&gt;
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====B. Terms and Expressions====&lt;br /&gt;
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笔锋 the tip of a wring brush&lt;br /&gt;
&lt;br /&gt;
笔杆 pen-holder&lt;br /&gt;
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宣笔 Xuan Chinese writing brush&lt;br /&gt;
&lt;br /&gt;
羊毫笔 goat-hair brush&lt;br /&gt;
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鼠须笔 mouse-mustache brush&lt;br /&gt;
&lt;br /&gt;
====C. Questions====&lt;br /&gt;
&lt;br /&gt;
1. What are the four treasures of the study?&lt;br /&gt;
   &lt;br /&gt;
2. How long is the history of writing brush?&lt;br /&gt;
 &lt;br /&gt;
3. When was the physical object of writing brush found?&lt;br /&gt;
&lt;br /&gt;
4. How many centers of writing brush manufacturing in the history? What are they?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Writing brushes, ink sticks, paper and inkstones.&lt;br /&gt;
&lt;br /&gt;
2. 5000 or 6000 years up to now.&lt;br /&gt;
&lt;br /&gt;
3. In the Warring States periods.&lt;br /&gt;
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4. There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*杜霄枫Du Xiaofeng. 苏易简《文房四谱》研究[Study on Su Yijian's Four Treasures of the Study].郑州大学[Zhengzhou University],2019.&lt;br /&gt;
&lt;br /&gt;
*王小娟Wang Xiaojuan. 宋代文房四宝与文人[Four Treasures of the Study and Literati in the Song Dynasty].华中师范大学[Central China Normal University],2013.&lt;br /&gt;
&lt;br /&gt;
*徐清Xu Qing.毛笔的发展及历代名工[The Development of Writing Brush and Famous Workers in Past Dynasties].中国书法[Chinese Calligraphy],2013.&lt;br /&gt;
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*鄢豪Yan Hao. 器锐、法妙、事善[D].湖南师范大学,2012.&lt;br /&gt;
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==Chinese Classical Fairy Tales -Zhao Xiaoyan 赵晓燕 202070080628  MTI==&lt;br /&gt;
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===Chinese Classical Fairy Tales===&lt;br /&gt;
&lt;br /&gt;
===Jingwei Tries to Fill the Sea===&lt;br /&gt;
Jingwei is a bird in Chinese mythology, who was transformed from Yandi's daughter Nüwa. She is also a goddess in Chinese mythology.&lt;br /&gt;
The story is recorded in the Shanhaijing:Three thousand ninety li farther southeast, then northeast, stands Departing-Doves Mountain. On its heights are many mulberry trees. There is a bird dwelling here whose form resembles a crow with a patterned head, white beak, and red feet. It is called Jingwei and makes a sound like its name. She is the younger daughter of Yandi named Nüwa. Nüwa was swimming in the Eastern Sea when she was unable to return to shore and drowned. She then transformed into the bird Spirit-Guardian and regularly carries twigs and stones from the Western Mountains to fill up the Eastern Sea. The Zhang River emanates from here and flows eastward into the Yellow River.[1](Strassberg(2002),132.)&lt;br /&gt;
The story means dogged determination and perseverance in the face of seemingly impossible odds.Based on different research perspectives, people classify the myth into different types of myths. Obviously, the myth is a typical metamorphosis myth, and belongs to the myth of &amp;quot;life after death&amp;quot;, that is, the soul is entrusted to a real substance. The woman drowned in the sea and became a bird to carry out the revenge business of reclamation.&lt;br /&gt;
The myth of “Jingwei Tries to Fill the Sea” expresses the most essential and eternal thing about human beings: the fear of survival, and above all, the eternal and unique spirituality of human beings. These archetypal themes express the cultural consciousness of the ancestors arising from their most basic survival. Survival here is simply a cherishing of life. As a result of this initial instinct to preserve life, the sense of crisis gradually spread to a deeper and broader level in later generations.&lt;br /&gt;
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===The Great Flood of Gun-Yu===&lt;br /&gt;
The Great Flood of Gun-Yu, also known as the Gun-Yu myth, was a major flood event in ancient China that allegedly continued for at least two generations, which resulted in great population displacements among other disasters, such as storms and famine. People left their homes to live on the high hills and mounts, or nest on the trees.[2](Strassberg(2002)) According to mythological and historical sources, it is traditionally dated to the third millennium BCE, or about 2300-2200 BC, during the reign of Emperor Yao.&lt;br /&gt;
Yu tried a different approach to the project of flood control; which in the end having achieved success, earned Yu renown throughout Chinese history, in which the Gun-Yu Great Flood is commonly referred to as &amp;quot;Great Yu Controls the Waters&amp;quot;. Yu's approach seems to have involved an approach more oriented toward drainage and less towards containment with dams and dikes. According to the more fancily embellished versions of the story it was also necessary for him to subdue various supernatural beings as well as recruit the assistance of others, for instance a channel-digging dragon and a giant mud-hauling tortoise (or turtle).[3]&lt;br /&gt;
In the history of Chinese civilization, the story &amp;quot;the Great Flood of Gun-Yu&amp;quot; played an important role in healing water. In the process of curing water, Yu relied on the concepts of hard work, making the best use of the situation, scientific treatment of water and putting people first, and overcame many difficulties to achieve success. This led to the formation of the spirit of Da Yu's water management, which is based on the concepts of selflessness, national supremacy, people as the foundation of the nation, and scientific innovation. The spirit of the Great Yu is the source and symbol of the Chinese national spirit.&lt;br /&gt;
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===The Legendary of Nian===&lt;br /&gt;
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According to Chinese mythology, a Nian is a beast that lives under the sea or in the mountains. The character nian more usually means &amp;quot;year&amp;quot; or &amp;quot;new year&amp;quot;. The earliest written sources that refer to the nian as a creature date to early 20th century. As a result, it is unclear whether the Nian creature is an authentic part of traditional folk mythology or a part of a local oral tradition which was recorded in the early 20th century. Nian is one of the key characters in the Chinese New Year with scholars citing it as the reason behind several practices during the celebration such as wearing red clothing and creating noise from drums and fireworks.[4](Laban (2016-02-08)). Various aspects of cultural practices relating to Chinese New Year are now included as part of the nian legend. Once every year at the beginning of Chinese New Year, the nian comes out of its hiding place to feed, mostly on men and animals. During winter, since food is sparse, he would go to the village. He would eat the crops and sometimes the villagers, mostly children. There are several accounts as to how it looked, such as the way some sources cited that it resembles a flat-face lion with a dog's body and prominent incisor.[5](Flake, Ben (2014-01-31)). Other authors described it as larger than an elephant with two long horns and many sharp teeth.[6](Yuan, Haiwang (2006)). The weaknesses of the nian are purported to be a sensitivity to loud noises, fire, and a fear of the color red.&lt;br /&gt;
The reason why people consider the year as a monster is because the earth and sky bring food and clothing, as well as disasters. Therefore, it is important to start the year with a respect for nature and to pray for blessings through rituals.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Jingwei Tries to Fill the Sea 精卫填海&lt;br /&gt;
&lt;br /&gt;
Yandi 炎帝&lt;br /&gt;
&lt;br /&gt;
Shanhaijing 山海经&lt;br /&gt;
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Departing-Doves Mountain 发鸠山&lt;br /&gt;
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Nüwa 女娃&lt;br /&gt;
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Eastern Sea 东海&lt;br /&gt;
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the bird Spirit-Guardian 精卫鸟&lt;br /&gt;
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Zhang River 漳水&lt;br /&gt;
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The Great Flood of Gun-Yu 鲧禹治水&lt;br /&gt;
&lt;br /&gt;
Emperor Yao 尧帝&lt;br /&gt;
&lt;br /&gt;
Nian 年&lt;br /&gt;
&lt;br /&gt;
new year 新年&lt;br /&gt;
&lt;br /&gt;
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===Questions===&lt;br /&gt;
1.Who is Nüwa? &lt;br /&gt;
&lt;br /&gt;
She is the younger daughter of Yandi,then transformed into a bird called Jingwei.&lt;br /&gt;
&lt;br /&gt;
2.What can we learn from the Great Flood of Gun-Yu?&lt;br /&gt;
&lt;br /&gt;
The spirit of Da Yu's water management, which is based on the concepts of selflessness, national supremacy, people as the foundation of the nation, and scientific innovation.&lt;br /&gt;
&lt;br /&gt;
3.What are the customs of Chinese New Year?&lt;br /&gt;
&lt;br /&gt;
Wearing red clothing and creating noise from drums and fireworks.&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Translation in Strassberg(2002),132.&lt;br /&gt;
&lt;br /&gt;
[2]Strassberg,Richard,ed.(2002),''A Chinese bestiary:strange creatures from the guideways through mountains and seas,'' University of California Press.&lt;br /&gt;
&lt;br /&gt;
[3]百度百科&lt;br /&gt;
&lt;br /&gt;
[4]Laban, Barbara (2016-02-08). ''Top 10 Chinese myths''. the Guardian. &lt;br /&gt;
&lt;br /&gt;
[5]Flake, Ben (2014-01-31). ''It Lurks''. The Paris Review. &lt;br /&gt;
&lt;br /&gt;
[6]Yuan, Haiwang (2006). ''The Magic Lotus Lantern and Other Tales from the Han Chinese''. Westport, CT: Libraries Unlimited. 168. &lt;br /&gt;
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--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:04, 3 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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===Face Changing in Sichuan Opera===&lt;br /&gt;
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&lt;br /&gt;
1.Sichuan Opera and its characteristics&lt;br /&gt;
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Sichuan Opera originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911). With immigrants flooding into Sichuan, different dramas were brought in to blend with the local dialect, customs, folk music and dances. Gradually, brisk humorous Sichuan Opera, reflecting Sichuan culture, came into being. Sichuan Opera is well-known in China, and it is characterized by solo singing, skillful acting, rich percussion and incredibly funny comedies. Performers wear brightly colored costumes and move to quick, dramatic music and they are always full of wit, humor, lively dialogues, and pronounced local flavors. They also wear vividly colored masks that they may change within a fraction of a second. The magic stunts such as quick face changes without makeup and the acrobatics such as jumping through burning hoops and hiding swords entertain and amuse audiences. (https://www.globaltimes.cn/content/573460.shtml)&lt;br /&gt;
&lt;br /&gt;
Sichuan Opera originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911). With immigrants flooding into Sichuan, different dramas were brought in to blend with the local dialect, customs, folk music and dances. Gradually, brisk humorous Sichuan Opera, reflecting Sichuan culture, came into being. Sichuan Opera is well-known in China, and it is characterized by solo singing, skillful acting, rich percussion and incredibly funny comedies. Performers wear brightly colored costumes and move to quick, dramatic music and they are always full of wit, humor, lively dialogues, and pronounced local flavors. They also wear vividly colored masks that they may change within a fraction of a second. The magic stunts such as quick face changes without makeup and the acrobatics such as jumping through burning hoops and hiding swords entertain and amuse audiences. (https://www.globaltimes.cn/content/573460.shtml)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.The origin and development of face changing &lt;br /&gt;
&lt;br /&gt;
Face changing began 300 years ago, during the reign of the Qing Dynasty Emperor Qianlong (1736-1795). It is said that ancient people painted their faces to drive away wild animals. Sichuan Opera absorbs this ancient skill and perfects it into an art. Face-changing is achieved by quickly tearing off, rubbing, or blowing away a mask to reveal another. It is the highlight of Sichuan Opera. It is an important aspect of Sichuan Opera, and the precise techniques that are used to change masks in modern Sichuan Opera is a closely guarded secret. The secrets have been passed down within theatre families from generation to generation. It was listed as intangible cultural heritage in 2005. (百度百科: 川剧变脸--历史起源 Baidu Baike：The origin of face changing)&lt;br /&gt;
&lt;br /&gt;
Face changing began 300 years ago, during the reign of the Emperor Qianlong of Qing Dynasty (1736-1795). It is said that ancient people painted their faces to drive away wild animals. Sichuan Opera absorbs this ancient skill and perfects it into an art. Face changing is achieved by quickly tearing off, rubbing, or blowing away a mask to reveal another. It is the highlight of Sichuan Opera. It is an important aspect in Sichuan Opera, and the precise techniques that are used to change masks in modern Sichuan Opera is a closely guarded secret. The secrets have been passed down within theatre families from generation to generation. It was listed as intangible cultural heritage in 2005. (百度百科: 川剧变脸--历史起源 Baidu Baike：The origin of face changing)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Face-changing was first used in a story about a hero who stole from the rich to help the poor. When he was caught by feudal officials, he changed his face to puzzle them and escaped as a result. By the 1920s, opera masters began using layers of masks made of oiled paper or dried pig bladder. Skilled performers could peel off one mask after another in less than a second. In contemporary opera, performers wave their arms and twist their heads, and their painted masks are changed again and again, much to the astonishment and amusement of the audience. Modern-day masters use full-face painted silk masks, which can be worn in layers of as many as twenty-four, and be pulled off one by one. (https://www.chinahighlights.com/chengdu/attraction/magical-face-change.htm)&lt;br /&gt;
&lt;br /&gt;
Face changing was first used in a story about a hero who stole from the rich to help the poor. When he was caught by feudal officials, he changed his face to puzzle them and escaped. By the 1920s, opera masters began using layers of masks made of oiled paper or dried pig bladder. Skilled performers could peel off one mask after another in less than a second. In contemporary opera, performers wave their arms and twist their heads, and then their painted masks are changed again and again, much to the astonishment and amusement of the audience. Modern masters use full-face painted silk masks, which can be worn in layers of as many as twenty-four, and be pulled off one by one. (https://www.chinahighlights.com/chengdu/attraction/magical-face-change.htm)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
It is amazing to watch actors change their masks with a magical sweep of a hand or the turning of the head. It is difficult to see the masks being changed. Sichuan Opera master Peng Denghuai changed 14 masks in 25 seconds, and reverted to four masks after revealing his true face. This was his latest Guinness World record, breaking his previous one. Hong Kong super star Andy Lau was said to respect Mr. Peng as teacher and mentor in this stunt. One Sichuan Opera master also used Qigong movements as he changed face color from red to white, then from white to black. (Xiao, 2013:54-55)&lt;br /&gt;
&lt;br /&gt;
It is amazing to watch actors change their masks with a magical sweep of a hand or the turning of the head. It is difficult to see the masks being changed. Peng Denghuai ，a Sichuan Opera master，changed 14 masks in 25 seconds, and reverted to four masks after revealing his true face. This was his latest Guinness World record, breaking his previous one. Hong Kong super star Andy Lau was said to respect Mr. Peng as teacher and mentor in this stunt. One Sichuan Opera master also used Qigong movements as he changed face color from red to white, then from white to black. (Xiao, 2013:54-55) --[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.The symbolic meaning and typical characters in different colors of Lianpu&lt;br /&gt;
&lt;br /&gt;
The most direct impression of Sichuan Opera facial makeup is its colorful colors, which are just like the color plates in paintings. Red, black, blue, white, yellow and green are the main colors, supplemented by turmeric, pink and stone green. The colors are bright and pure, exaggerated and gorgeous. Its color is rich and changeful, each kind of color has its connotation. In addition to the differences in color, people’s perception of color in daily life is more related to the aesthetic meaning and cultural connotation. For example, yellow represents sunshine, green represents health, black represents darkness, etc. On the one hand, the colors on facial masks exaggerate and amplify the features of the characters; on the other hand, they also express the hearts of the characters through the symbolic meanings. The colors become the basis for the audience to evaluate the characters, either praising or criticizing. (Wang, 2017 132-133)&lt;br /&gt;
&lt;br /&gt;
The most direct impression of Sichuan Opera facial makeup is its motley colors, which are just like the color plates in paintings. Red, black, blue, white, yellow and green are the main colors, supplemented by turmeric, pink and stone green. The colors are bright and pure, exaggerated and gorgeous. Its color is rich and changeful, each kind of color has its connotation. In addition to the differences in color, people’s perception of color in daily life is more related to the aesthetic meaning and cultural connotation. For example, yellow represents sunshine, green represents health, black represents darkness, etc. On the one hand, the colors on facial masks exaggerate and amplify the features of the characters; on the other hand, they also express the hearts of the characters through the symbolic meanings. The colors become the basis for the audience to appraise the characters, either praising or criticizing. (Wang, 2017 132-133)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The red mask represents loyalty and righteousness, and the most famous one is Guan Yu in Romance of The Three Kingdoms. He is loyal to Liu Bei all his life and does not seek vanity. White color is used in those treacherous and insidious characters, such as Cao Cao, Qin Hui, Yan Song, Sima Yi. Black is a symbol of integrity and frankness, the most typical is Bao Zheng’s facial makeup, in addition to Li Kui, Zhang Fei, Xiang Yu and so on. Yellow symbolizes bravery and violence, such as Dian Wei and Pang Juan. Green symbolizes recklessness and impulsiveness, such as The “green tiger” Xu Shiying. Blue and green are more neutral, symbolizing outlaw hero, strong and fierce, such as Dou Erdun, Cheng Yaojin, Gongsun Sheng, etc. Gold and silver do not often appear, generally only used by mythological characters, representing Buddhas, gods, spirits, ghosts, etc. For example, Sun Wukong (Monkey King) has a facial makeup with burning eyes and some gold on his eyelids, thus showing the cleverness of the Monkey King. (Wang, 2017 132-133)&lt;br /&gt;
&lt;br /&gt;
The red mask represents loyalty and righteousness, and the most famous one is Guan Yu in Romance of The Three Kingdoms. He is loyal to Liu Bei all his life and does not seek vanity. White color is used in those treacherous and insidious characters, such as Cao Cao, Qin Hui, Yan Song, Sima Yi. Black is a symbol of integrity and frankness, the most typical is Bao Zheng’s facial makeup, in addition to Li Kui, Zhang Fei, Xiang Yu and so on. Yellow mask symbolizes bravery and violence, such as Dian Wei and Pang Juan. Green mask symbolizes recklessness and impulsiveness, such as The “green tiger” Xu Shiying. Blue and green are more neutral, symbolizing outlaw hero, strong and fierce, such as Dou Erdun, Cheng Yaojin, Gongsun Sheng, etc. Gold and silver do not often appear, generally only used by mythological characters, representing Buddhas, gods, spirits, ghosts, etc. For example, Sun Wukong (Monkey King) has a facial makeup with burning eyes and some gold on his eyelids, thus showing the cleverness of the Monkey King. (Wang, 2017 132-133)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As the visual focus for the audience to appreciate Sichuan opera, the varied colors of facial makeup bring different levels of inner feelings to the audience. Such rich and varied colors successfully express the character of the opera characters and the historical judgment of their emotions in a clear and appropriate way. It can be said that color, as a visual language, occupies a very important position in sichuan opera facial makeup art. (Wang, 2017 132-133)&lt;br /&gt;
&lt;br /&gt;
As the visual focus for the audience to appreciate Sichuan opera, the varied colors of facial makeup bring different levels of inner feelings to the audience. These rich and varied colors successfully express the character of the opera characters and the historical judgment of their emotions in a clear and appropriate way. It can be said that color, as a visual language, occupies a very important position in Sichuan Opera facial makeup art. (Wang, 2017 132-133)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.Crafting materials for facial makeup&lt;br /&gt;
&lt;br /&gt;
As for the materials of Sichuan Opera face-changing, they were mostly based on the hard surface shell made of rough paper paste at the beginning. After continuous improvement, they evolved into drawing on the thin paper surface. Folding fans or cloaks were often used to cover the face-changing process. At the moment of turning a head or stroke sleeve quickly pull off layers of facial makeup. After the founding of new China, with extensive attention paid to the art of Sichuan Opera, face-changing stunts have also made considerable progress, and the process materials for making facial masks have been gradually replaced by lighter and more durable silk fabrics from the original paper. For performers, the use of the silk fabric not only speeds up the production time of facial masks, but also increases the time for instant facial makeup. Different from the complexity of the traditional facial makeup drawing process, this facial makeup making process does not need to consider the facial structure, and the drawing pattern is more free and smooth. However, it should be noted that because of the rapid change of face mask in the performance process, the instant face change, the stage effect is strong, so this kind of face mask is very particular about simple writing, bright colors, rough and powerful. (Luo, 2019, 13:29-30)&lt;br /&gt;
&lt;br /&gt;
As for the materials of Sichuan Opera face-changing, they were mostly based on the hard surface shell made of rough paper paste at the beginning. After continuous improvement, they evolved into drawing on the surface of thin paper. Folding fans or cloaks were often used to cover the face-changing process. At the moment of turning a head or stroke sleeve quickly pull off layers of facial makeup. After the founding of new China, with extensive attention paid to the art of Sichuan Opera, face-changing stunts have also made considerable progress, and the process materials for making facial masks have been gradually replaced by lighter and more durable silk fabrics from the original paper. For performers, the use of the silk fabric not only speeds up the production time of facial masks, but also increases the time for instant facial makeup. Different from the complexity of the traditional facial makeup drawing process, this facial makeup making process does not need to consider the facial structure, and the drawing pattern is more free and smooth. However, it should be noted that because of the rapid change of face mask in the performance process, the instant face change, the stage effect is strong, so this kind of face mask is very particular about simple writing, bright colors, rough and powerful. (Luo, 2019, 13:29-30)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
5.Three main types of Lianpu&lt;br /&gt;
&lt;br /&gt;
There are three types of face changes, Wiping Mask routine, Blowing Mask routine and Pulling Mask routine. In the Wiping Mask routine the actor applies cosmetic paint in a certain position on his face. If the whole face is to be changed, the cosmetic paint is applied to the forehead or eyebrows; for changes on the lower half of the face, paint is applied to his cheeks or nose; or to other specific parts. The Blowing Mask routine works with powder cosmetics, such as gold, silver, and ink powders. Sometimes a tiny box is placed on the stage; the actor draws near and blows at the box. The powder will puff up and stick to the face. Sometimes the powder is put in a cup. The secret to success in this act is to close the eyes and mouth and to hold the breath. The Pulling Mask routine is the most complicated. Masks are painted on pieces of damask, well cut, hung with a silk thread, and the lightly pasted to the face one by one. The silk thread is fastened in an inconspicuous part of the costume. With a flick of his cloak the performer magically whisks away the masks one by one as the drama develops.(百度百科: 川剧变脸--表现手法Baidu Baike: Face changing -- Expression methods)&lt;br /&gt;
&lt;br /&gt;
There are three types of face changes, Wiping Mask routine, Blowing Mask routine and Pulling Mask routine. In the Wiping Mask routine the actor applies cosmetic paint in a certain position on his face. If the whole face is to be changed, the cosmetic paint is applied to the forehead or eyebrows; for changes on the lower half of the face, paint is applied to his cheeks or nose; or to other specific parts. The Blowing Mask routine works with powder cosmetics, such as gold, silver, and ink powders. Sometimes a tiny box is placed on the stage; the actor draws near and blows at the box. The powder will puff up and stick to the face. Sometimes the powder is put in a cup. The secret to success in this act is to close the eyes and mouth and to hold the breath. The Pulling Mask routine is the most complicated type. Masks are uauslly painted on pieces of damask, well cut, hung with a silk thread, and the lightly pasted to the face one by one. The silk thread is fastened in an inconspicuous part of the costume. With a flick of his cloak the performer magically whisks away the masks one by one as the drama develops.(百度百科: 川剧变脸--表现手法Baidu Baike: Face changing -- Expression methods)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Sichuan Opera (Chuan Ju)  n.川剧&lt;br /&gt;
	&lt;br /&gt;
Face changing	          n.变脸	&lt;br /&gt;
&lt;br /&gt;
Lian pu	        脸谱&lt;br /&gt;
&lt;br /&gt;
Guan Yu         关羽&lt;br /&gt;
&lt;br /&gt;
Romance of The Three Kindoms  《三国演义》&lt;br /&gt;
&lt;br /&gt;
Liu Bei         刘备&lt;br /&gt;
&lt;br /&gt;
Cao Cao         曹操&lt;br /&gt;
&lt;br /&gt;
Qin Hui         秦桧&lt;br /&gt;
&lt;br /&gt;
Yan Song        严嵩&lt;br /&gt;
&lt;br /&gt;
Sima Yi         司马懿&lt;br /&gt;
&lt;br /&gt;
Bao Zhenhg      包拯&lt;br /&gt;
&lt;br /&gt;
Li Kui          李逵&lt;br /&gt;
&lt;br /&gt;
Zhang Fei       张飞&lt;br /&gt;
&lt;br /&gt;
Dian Wei        典韦&lt;br /&gt;
&lt;br /&gt;
Pang Juan       庞涓&lt;br /&gt;
&lt;br /&gt;
Xu Shiying      徐世英&lt;br /&gt;
&lt;br /&gt;
Dou Erdun       窦尔敦&lt;br /&gt;
&lt;br /&gt;
Cheng Yaojin    程咬金&lt;br /&gt;
&lt;br /&gt;
Gongsun Sheng   公孙胜&lt;br /&gt;
&lt;br /&gt;
Sun Wukong,     孙悟空&lt;br /&gt;
&lt;br /&gt;
Monkey King     孙悟空，美猴王	&lt;br /&gt;
&lt;br /&gt;
Peng Denghuai	彭登怀&lt;br /&gt;
&lt;br /&gt;
Andy Lau	刘德华 	&lt;br /&gt;
&lt;br /&gt;
Wiping Mask	抹脸&lt;br /&gt;
&lt;br /&gt;
Blowing Mask	吹脸&lt;br /&gt;
	&lt;br /&gt;
Pulling Mask	扯脸&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:42, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1.How long is the history of Sichuan Opera?&lt;br /&gt;
&lt;br /&gt;
2.What are the characteristics of Sichuan Opera?&lt;br /&gt;
&lt;br /&gt;
3.How long is the history of face changing?&lt;br /&gt;
&lt;br /&gt;
4.What are the typical colors of lianpu and what are their symbolic meanings?&lt;br /&gt;
&lt;br /&gt;
5.What are the three types of face changes?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.Sichuan Opera (Chuan Ju) originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911).&lt;br /&gt;
&lt;br /&gt;
2.Sichuan Opera is characterized by solo singing, skillful acting, rich percussion and incredibly funny comedies.&lt;br /&gt;
&lt;br /&gt;
3.Face changing began 300 years ago, during the reign of the Qing Dynasty Emperor Qianlong (1736-1795).&lt;br /&gt;
&lt;br /&gt;
4.Red, black, blue, white, yellow and green are the main colors, supplemented by turmeric, pink and stone green.&lt;br /&gt;
&lt;br /&gt;
The red mask represents loyalty and righteousness. White color is used in those treacherous and insidious characters. Black is a symbol of integrity and frankness. Yellow symbolizes bravery and violence. Green symbolizes recklessness and impulsiveness. Blue and green are more neutral, symbolizing outlaw hero, strong and fierce. Gold and silver do not often appear, generally only used by mythological characters.&lt;br /&gt;
&lt;br /&gt;
5.Wiping Mask routine, Blowing Mask routine and Pulling Mask routine.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
罗玥Luo Yue. 浅谈川剧随心变的变脸脸谱艺术On the Art of Changing Facial Makeup in Sichuan Opera [J]. 戏剧之家Home Drama, 2019, 13:29-30. &lt;br /&gt;
&lt;br /&gt;
王华清Wang Huaqing. 刍议川剧脸谱艺术特征Analysis of the Artistic Characteristics of Facial Makeup in Sichuan Opera[J]. 设计Design，2017.&lt;br /&gt;
&lt;br /&gt;
萧源锦Xiao Yuanjin. 神奇莫测的川剧变脸Magical Face Changes of Sichuan Opera[J]. 文史杂志Journal of Literature and History , 2013, 2: 54-55.&lt;br /&gt;
&lt;br /&gt;
百度百科Baidu Baike&lt;br /&gt;
&lt;br /&gt;
https://www.globaltimes.cn/content/573460.shtml&lt;br /&gt;
&lt;br /&gt;
https://www.chinahighlights.com/chengdu/attraction/magical-face-change.htm&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Luo Yue 罗玥. (2019). 浅谈川剧随心变的变脸脸谱艺术 [On the Art of Changing Facial Makeup in Sichuan Opera]. ''戏剧之家'' Home Drama13:29-30. &lt;br /&gt;
&lt;br /&gt;
Wang Huaqing 王华清. (2017). 刍议川剧脸谱艺术特征 [Analysis of the Artistic Characteristics of Facial Makeup in Sichuan Opera]. ''设计'' Design&lt;br /&gt;
&lt;br /&gt;
Xiao Yuanjin 萧源锦. (2013) 神奇莫测的川剧变脸 [Magical Face Changes of Sichuan Opera]. ''文史杂志'' Journal of Literature and History 2: 54-55.&lt;br /&gt;
&lt;br /&gt;
百度百科Baidu Baike&lt;br /&gt;
&lt;br /&gt;
https://www.globaltimes.cn/content/573460.shtml&lt;br /&gt;
&lt;br /&gt;
https://www.chinahighlights.com/chengdu/attraction/magical-face-change.htm  --[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 02:49, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties-Zhou Yuanqu 周园曲 Student No.202070080630==&lt;br /&gt;
&lt;br /&gt;
===The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties===&lt;br /&gt;
&lt;br /&gt;
In the Wei, Jin and Southern and Northern Dynasties (AD 220-AD 589), China was a profoundly divided country. Different from the unified Han Dynasty, in this period the northern and southern part of China confronted each other, with numerous political regimes existing at the same time. In this period, the official selection system was mainly the Nine-Rank Official Selection System. &lt;br /&gt;
&lt;br /&gt;
The Nine-Rank Official Selection System originated from Cao Cao's thought of &amp;quot;meritocracy&amp;quot; in the late Eastern Han Dynasty (AD 184-AD 220), and was not formally carried out by Cao Pi, king of Wei, until AD 220. When Cao Pi established this system of selecting officials, he hoped that &amp;quot;it is based on the merits of talents, not on the superiority of aristocratic families&amp;quot;. And the establishment of this system also used the Recommendatory System (a method of civil recruitment) in Han Dynasty for reference.&lt;br /&gt;
&lt;br /&gt;
The contents of the Nine-Rank Official Selection System are as follows:&lt;br /&gt;
&lt;br /&gt;
1. Local dignitaries with integrity and talents would be appointed by the imperial court as Rectifiers. Rectifiers in each Region would be classified as Senior Rectifiers, in each Commandery as Junior Rectifiers. &lt;br /&gt;
&lt;br /&gt;
2. Rectifiers were in charge of classifying all males in their jurisdiction into nine ranks based on the candidates' talents, morality and hereditary social status. The Rectifier were only in charge of classification. They didn't have the power of appointment.&lt;br /&gt;
&lt;br /&gt;
3. The nine ranks were superior-superior, superior-intermediary, superior-inferior, intermediary-superior, intermediary-intermediary, intermediary-inferior, inferior-superior, inferior-intermediary, and inferior-inferior. (see picture)&lt;br /&gt;
[[File:The Nine-Grade Official Selection System.jpg|200px|thumb|left|The Nine-Grade Official Selection System, image from Baike. Click [https://baike.baidu.com/pic/%E4%B9%9D%E5%93%81%E4%B8%AD%E6%AD%A3%E5%88%B6/1711003/1/77c6a7efce1b9d16f5c6d3cef9deb48f8c54641f?fr=lemma&amp;amp;ct=single#aid=1&amp;amp;pic=77c6a7efce1b9d16f5c6d3cef9deb48f8c54641f.jpg] for original source.]]&lt;br /&gt;
 &lt;br /&gt;
4. Firstly, the Junior Rectifier would consider to a large extent what status the candidate’s ancestors had possessed and how many generations had taken office. Secondly, the Junior Rectifier proceeded to examine the merits of the candidate. Thirdly, the Junior Rectifier would hand in their classification to the Senior Rectifier who would check the validity of the classification and submit it to the Minister of Personnel. Finally, the Minister of Personnel would select the officials and appointed them to office.&lt;br /&gt;
&lt;br /&gt;
5. The level of the office was parallel to the rank of each candidate.&lt;br /&gt;
&lt;br /&gt;
6. Every three years, the Rectifier would submit their recommendations to the Minister of Personnel. In the recommendations, the Rectifier would state their opinion as to whether officials who had already been conferred offices should be promoted or not.&lt;br /&gt;
&lt;br /&gt;
In the initial stage of the implementation, the Nine-Rank Official Selection System played a positive role. It was conducive to the selection of talents and stability of society. In addition, taking morality as a standard of recruitment changed the situation that rich and powerful families dominated the selection of talents since the late Eastern Han Dynasty, which strengthened the central government’s control over civil recruitment.&lt;br /&gt;
&lt;br /&gt;
However, with the passage of time, the negative factors in the Nine-Rank Official Selection System began to play an overwhelming role. Due to the lack of supervision mechanism, the Nine-Rank Official Selection System gradually became a tool for the elite class to control the selection of talents and to further control the whole bureaucratic system. The Twenty-Four Histories described the bureaucratic stratum of that times as “Nobody ranked as a superior comes from a humble family; nobody classified as an inferior comes from a noble family.” Besides, since morality was given priority in the Nine-Rank Official Selection System, talents with moral flaws would lose the opportunity of being recruited forever.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Nine-Rank Official Selection System 九品中正制&lt;br /&gt;
&lt;br /&gt;
Recommendatory System 察举制&lt;br /&gt;
&lt;br /&gt;
Rectifier 中正官&lt;br /&gt;
&lt;br /&gt;
Senior Rectifier 大中正官&lt;br /&gt;
&lt;br /&gt;
Junior Rectifier 小中正官&lt;br /&gt;
&lt;br /&gt;
Region 州&lt;br /&gt;
&lt;br /&gt;
Commandery 郡&lt;br /&gt;
&lt;br /&gt;
superior-superior 上上&lt;br /&gt;
&lt;br /&gt;
superior-intermediary 上中&lt;br /&gt;
&lt;br /&gt;
superior-inferior 上下&lt;br /&gt;
&lt;br /&gt;
intermediary-superior 中上 &lt;br /&gt;
&lt;br /&gt;
intermediary-intermediary 中中&lt;br /&gt;
&lt;br /&gt;
intermediary-inferior 中下&lt;br /&gt;
&lt;br /&gt;
inferior-superior 下上&lt;br /&gt;
&lt;br /&gt;
inferior-intermediary 下中&lt;br /&gt;
&lt;br /&gt;
and inferior-inferior 下下&lt;br /&gt;
&lt;br /&gt;
Minister of Personnel 吏部尚书&lt;br /&gt;
&lt;br /&gt;
Twenty-Four Histories 《二十四史》&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Who established the Nine-Rank Official Selection System?&lt;br /&gt;
&lt;br /&gt;
2. What does a Rectifier do?&lt;br /&gt;
&lt;br /&gt;
3. What are the nine ranks?&lt;br /&gt;
&lt;br /&gt;
4. What's the positive influence of the Nine-Rank Official Selection System?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Cao Pi, king of Wei.&lt;br /&gt;
&lt;br /&gt;
2. A Rectifier is in charge of classifying all males in their jurisdiction into nine ranks based on the candidates’ talents, morality and hereditary social status.&lt;br /&gt;
&lt;br /&gt;
3. The nine ranks are superior-superior, superior-intermediary, superior-inferior, intermediary-superior, intermediary-intermediary, intermediary-inferior, inferior-superior, inferior-intermediary, and inferior-inferior.&lt;br /&gt;
&lt;br /&gt;
4. It was conducive to the selection of talents and stability of society. In addition, taking morality as a standard of recruitment changed the situation that rich and powerful families dominated the selection of talents since the late Eastern Han Dynasty, which strengthened the central government’s control over civil recruitment.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1. Sun Xiaoyu, ''A Chinese History Reader'', Singapore: Cengage Learning Asia Pte Ld., 2010.&lt;br /&gt;
&lt;br /&gt;
2. Charles O Hucker, ''A Dictionary of Official Titles in Imperial China'', Palo Alto: Stanford University Press, 1985.&lt;br /&gt;
&lt;br /&gt;
3. 邓中平. 浅析中国古代选官制度及启示[D].西南政法大学,2010.&lt;br /&gt;
&lt;br /&gt;
==Lattice on Ancient Chinese Windows 祝美梅 Student No.202070080632==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
From then till now, window at home and abroad has always played an significant role in the construction of buildings, both in its practical function and decorative values. The design of this architectural part affects the appearance, style, human touch, solemnity, vitality, and the enchantment of the building. The cultural implication of windows has developed over the years. Our forefathers poured much of their emotions on this “hole” on the wall, regarding it as the most indispensable component in their life. This article will introduce several kinds of lattices in detail.  (Liang Sicheng 1994, 78)&lt;br /&gt;
&lt;br /&gt;
From then till now, window at home and abroad has always played a significant role in the construction of buildings, both in its practical function and decorative values. The design of this architectural part affects the appearance, style, human touch, solemnity, vitality, and the enchantment of the building. The cultural implication of windows has developed over the years. Our forefathers poured much of their emotions on this “hole” on the wall, regarding it as the most indispensable component in their life. This article will introduce several kinds of lattices in detail.  (Liang Sicheng 1994, 78)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:25, 14 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lattice (gexin格心), this is also called “diamond lattice” (ling hua, 菱花). Diamond-shaped patterns were predominantly applied in external decoration in earlier periods. Lattice is also called geyan (格眼). (Ma Weidu, 2016, 47)&lt;br /&gt;
&lt;br /&gt;
Lattice (gexin格心) is also called “diamond lattice” (ling hua, 菱花). Diamond-shaped patterns were predominantly applied in external decoration in earlier periods. Lattice is also called geyan (格眼). (Ma Weidu, 2016, 47)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The three-crossing-six-nodes Lattice===&lt;br /&gt;
&lt;br /&gt;
[[File: Windows 1.jpg|300px|The three-crossing-nodes lattice]]  [[File: Windows 1-1.jpg|200px|The three-crossing-nodes lattice-2]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The three-crossing-nodes lattice, symbolizes the orthodox state power, as well as heaven and earth. For the imperial palaces, this pattern means: in front of the emperor is a spectacular landscape characterized by prosperity, peacefulness, vitality and brightness. While for the divine temples, it means that God is in charge of the balance of the universe. When heaven and earth is in congruence with each other, lives on earth flourish and humans survive. This lattice also represents the prayer of our forefathers to plead god’s protection and the bumper harvest of both crops and animals. (Lv Dandan, Song Kuiyan, 2011, (12): 128-130)&lt;br /&gt;
&lt;br /&gt;
The three-crossing-nodes lattice symbolizes the orthodox state power, as well as heaven and earth. In the imperial palaces, this pattern means: in front of the emperor is a spectacular landscape characterized by prosperity, peacefulness, vitality and brightness. While for the divine temples, it means that God is in charge of the balance of the universe. When heaven and earth is in congruence with each other, lives on earth flourish and humans survive. This lattice also represents the prayer of our forefathers to plead god’s protection and the bumper harvest of both crops and animals. (Lv Dandan, Song Kuiyan, 2011, (12): 128-130)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The two-crossing-four-nodes Lattice===&lt;br /&gt;
&lt;br /&gt;
[[File: Windows 2.jpg|300px|The two-crossing-four-nodes Lattice]] [[File: Windows 3.jpg|300px|The three-crossing-six-nodes ]]&lt;br /&gt;
&lt;br /&gt;
In the Forbidden City, the lattice of partition windows in main palaces are in diamond-shape. It was formed by two or three crossing rods with attached petals at the knot, making it looking a blooming flower. The lattice’s name made by two crossing rods is “the two-crossing-four-nodes lattice”, while by three is “the three-crossing-six-nodes lattice”. (Xiao Mo 1999, 35)&lt;br /&gt;
&lt;br /&gt;
In the Forbidden City, the lattice of partition windows in main palaces are in diamond-shape. It was formed by two or three crossing rods with attached petals at the knot, making it look like a blooming flower. The lattice’s name made by two crossing rods is “the two-crossing-four-nodes lattice”, while by three is “the three-crossing-six-nodes lattice”. (Xiao Mo 1999, 35)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===A-quiver-with-three-arrows-pattern===&lt;br /&gt;
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[[File: Windows 4-1.jpg|200px|A-quiver-with-three-arrows lattice-1]] [[File: Windows 4.jpg|300px|A-quiver-with-three-arrows lattice]]&lt;br /&gt;
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This lattice is formed by three groups horizontal rods respectively at the above, medium and bottom of a window intertwining with several vertical rods. These slender and long rods seems like arrows, hence the name. Chinese Taoists once said “ The Tao gives birth to One. One gives birth to Two. Two give birth to Three. Three gives birth to all things.” This type of lattice signifies numerous long arrows hanging on the window, with three implications: the property to dispel intruders from evils; a manifestation that inexhaustible weapons are in store with power endowed by heaven and a guarantee the acquisition of wealth as arrows are useful tools in hunting. (Laozi, 2016：105）&lt;br /&gt;
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This lattice is formed by three groups horizontal rods respectively at the top, medium and bottom of a window intertwining with several vertical rods. These slender and long rods seems like arrows, hence the name. Chinese Taoists once said “ The Tao gives birth to One. One gives birth to Two. Two give birth to Three. Three gives birth to all things.” This type of lattice signifies numerous long arrows hanging on the window, with three implications: the property to dispel intruders from evils; a manifestation that inexhaustible weapons are in store with power endowed by heaven and a guarantee the acquisition of wealth as arrows are useful tools in hunting. (Laozi, 2016：105）--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===Swastika lattice===&lt;br /&gt;
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[[File: Windows 5.jpg|200px|middle|Swastika lattice]]&lt;br /&gt;
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Swastika lattice, one of the ancient marks in China and India, gives people a spinning feeling. It looks like the spiral form caused by the flowing air or the vortex by running water in a river. The ancients believe that spiral movement is the engine of life. The shape卐 has no clear head nor tail, similar to Tai Chi diagram in traditional Chinese culture. （Zhao Jiawei, 2011, (15): 298-299)&lt;br /&gt;
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Swastika lattice, one of the ancient marks in China and India, gives people a spinning feeling. It looks like a spiral form caused by the flowing air or the vortex by running water in a river. The ancients believe that spiral movement is the engine of life. The shape卐 has no clear head nor tail, similar to Tai Chi diagram in traditional Chinese culture. （Zhao Jiawei, 2011, (15): 298-299)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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This lattice represents the restless life and the infinite circulating of the universe. The character’s four directions stretch outside, manifesting auspiciousness and longevity. “swastika brocade” is also known as “ flowing swastika”.&lt;br /&gt;
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This lattice represents restless life and the infinite circulating of the universe. The character’s four directions stretch outside, manifesting auspiciousness and longevity. “swastika brocade” is also known as “ flowing swastika”.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===Fret lattice===&lt;br /&gt;
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[[File: Windows 6-1.jpg|300px|Fret lattice-1]]  [[File: Windows 6.jpg|300px|Fret lattice]]&lt;br /&gt;
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Fret lattice means a safe return, and long happiness and longevity. It was derived from the cloud and thunder pattern inscribed on pottery and bronze wares. The lattice is in square, or rounded spiral shape constructed by horizontal and vertical short lines, looking like the Chinese character “回”. It gives people an illumination urging they to move forward incessantly in their undertakings till success no matter what setbacks and failures we might meet, and the long lasting blessing and longevity. (Yu Shiping, 2019, (01):1-2)&lt;br /&gt;
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Fret lattice means a safe return, long happiness and longevity. It derived from the cloud and thunder pattern inscribed on pottery and bronze wares. The lattice is in square, or rounded spiral shape constructed by horizontal and vertical short lines, looking like the Chinese character “回”. It gives people an illumination urging they to move forward incessantly in their undertakings till success no matter what setbacks and failures we might meet, and the long lasting blessing and longevity. (Yu Shiping, 2019, (01):1-2)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===The cracked ice lattice===&lt;br /&gt;
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[[File: Windows 7-1.jpg|250px|The cracked ice lattice-1]] [[File: Windows 7.jpg|300px|The cracked ice lattice]]&lt;br /&gt;
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The cracked ice pattern symbolize that ice starts melting, the end of the chilly winter and  the return of the earth to spring, as all things are reviving. It’s connotation is that all the unpleasant and unpleasant things have passed away, and the good and pleasant wishes will be realized immediately. (Lv Dandan, Song Kuiyan, 2011, (12): 100-101)&lt;br /&gt;
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The cracked ice pattern symbolizes that ice starts melting, the end of the chilly winter and  the return of the earth to spring, as all things are reviving. It’s connotation is that all the unpleasant and unpleasant things have passed away, and the good and pleasant wishes will be realized immediately. (Lv Dandan, Song Kuiyan, 2011, (12): 100-101)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===The H-shaped Lattice===&lt;br /&gt;
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[[File: Windows 8-1.jpg|200px|The H-shaped Lattice-1]] [[File: Windows 8.jpg|200px|The H-shaped Lattice]]&lt;br /&gt;
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The H-shaped bar pattern lattice not only looks like hieroglyphics, but also symbols things that are exquisite, beautiful and standard. In addition, the ancients thought that the horizontal and vertical lines in the character of “工”  indicating people do things in accordance with the orthodox traditional rules and practices and his integrity. (Zhang Jiji, 1991, 115)&lt;br /&gt;
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The H-shaped bar pattern lattice not only looks like hieroglyphics, but also symbolizes things that are exquisite, beautiful and standard. In addition, the ancients thought that the horizontal and vertical lines in the character of “工”  indicating people do things in accordance with the orthodox traditional rules and practices and his integrity. (Zhang Jiji, 1991, 115)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===The well-shaped lattice===&lt;br /&gt;
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[[File: Windows 9-1.jpg|300px|The Well-shaped lattice-1]] [[File: Windows 9.jpg|300px|The Well-shaped lattice]]&lt;br /&gt;
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The well-shaped lattice is not only the hieroglyph of Chinese character “井”, as well as  resemble the railings surrounded the place where the ancients dug a hole to fetch water.&lt;br /&gt;
Basically, China’s city planning is also expanded following well-shaped pattern. The reason why people choose this pattern is that they want to correspond with the well constellation, a symbol of auspiciousness and wish to keep away from fire hazard. （Zhao Jiawei, 2011, (15): 298-299)  &lt;br /&gt;
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The well-shaped lattice is not only the hieroglyph of Chinese character “井”, but also resembles the railings surrounded the place where the ancients dug a hole to fetch water.&lt;br /&gt;
Basically, China’s city planning is also expanded following well-shaped pattern. The reason why people choose this pattern is that they want to correspond with the well constellation, a symbol of auspiciousness and wish to keep away from fire hazard. （Zhao Jiawei, 2011, (15): 298-299) --[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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&amp;quot;In the West, a window is just a window, which lets light and fresh air come in, but for the Chinese, it is a picture frame, through which the outside garden can be seen.&amp;quot; Bei Lv Ming once said. By means of Lattice as a decoration, the picturesque window is not only a feast to eyes, but also enriches the layers of architectures, reflecting people's expectations for a better life. (Yu Shiping, 2019,(01): 94-95)&lt;br /&gt;
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&amp;quot;In the West, a window is just a window, which lets light and fresh air come in, but for Chinese, it is a picture frame, through which the outside garden can be seen.&amp;quot; Bei Lv Ming once said. By means of Lattice as a decoration, the picturesque window is not only a feast to eyes, but also enriches the layers of architectures, reflecting people's expectations for a better life. (Yu Shiping, 2019,(01): 94-95)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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===Vocabulary List===&lt;br /&gt;
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lattice 格心&lt;br /&gt;
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diamond lattice 菱花&lt;br /&gt;
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the three-crossing-six-nodes Lattice 三交六椀菱花&lt;br /&gt;
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the two-crossing-four-nodes Lattice 双交四椀菱花&lt;br /&gt;
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a-quiver-with-three-arrows-pattern 一码三箭样式菱花&lt;br /&gt;
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swastika pattern  万字纹样式棂花&lt;br /&gt;
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fret Lattice 回纹样式棂花&lt;br /&gt;
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the cracked ice lattice 冰裂纹样式棂花&lt;br /&gt;
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the well-shaped lattice 井字样式棂花&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What's the practical function of lattice on ancient Chinese windows? &lt;br /&gt;
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2. What kind of lattice was often used on windows of the imperial palace and divine temples? &lt;br /&gt;
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3. What's the cultural implications of the three-crossing-six-nodes Lattice? &lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. Lattice makes the window more lighter in weight. &lt;br /&gt;
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2. The three-crossing-six-nodes Lattice was often used on windows of the imperial palace and divine temples. &lt;br /&gt;
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3. The three-crossing-nodes lattice, symbolizes the orthodox state power, as well as heaven and earth.&lt;br /&gt;
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===Reference===&lt;br /&gt;
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*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.&lt;br /&gt;
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*Liang Si 梁思成.(1994) 中国建筑史[History of Chinese Architecture].江苏美术出版社 Jiangsu Fine Arts Publishing House.&lt;br /&gt;
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*Xiao Mo 萧默.(1999)中国建筑艺术史[The Art History of Chinese Architecture].文物出版社 Cultural Relics Publishing House.&lt;br /&gt;
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*Zhang Jiji 张家骥.(1991) 中国造园论[On Chinese Gardening].山西人民出版社 Shanxi People's Publishing House.&lt;br /&gt;
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*Ma Weidu 马未都.(2016) 中国古代门窗[Chinese Ancient Doors and Windows].中国建筑工业出版社 China Building Industry Press&lt;br /&gt;
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*Zhao Jiawei 赵佳薇(2011). 重庆磁器口传统木雕窗窗棂浅析Analysis on window Lattice of Chongqing Ciqikou Traditional Wood Carving Window. 大众文艺 The Mass Literature and Arts&lt;br /&gt;
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* Yu Shiping 郁世萍（2019). 格心棂花的装饰美——常家庄园传统窗棂艺术研究 [Beauty of Lattice -- Study on Traditional Window Lattice Art of Chang's Manor]. 美术大观 Art Review. &lt;br /&gt;
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* Lv Dandan, Song Kuiyan吕丹丹，宋魁彦 (2011). 传统民居隔扇格心纹样解析 [An Analysis of the lattices used on Residential Partitions]. 发展 Development.&lt;br /&gt;
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==Yuelu Academy(One of the Four Most Prestigious Academies)-Zhu Xu 朱旭 student no.202070080631==&lt;br /&gt;
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===Yuelu Academy(One of the Four Most Prestigious Academies)===&lt;br /&gt;
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As one of the four most prestigious academies (Songyang Academy,Yingtianfu Academy,Yuelu Academy, White Deer Grotto Academy)over the last 1000 years in China, Yuelu Academy has been a famous institution of higher learning as well as a centre of academic activities and cultures since it was formally set up in the ninth year of the Kai Bao Reign of the Northern Song Dynasty (976AD). (Wekipedia)&lt;br /&gt;
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As one of the four most prestigious academies (Songyang Academy,Yingtianfu Academy,Yuelu Academy, White Deer Grotto Academy)over the last 1000 years in China, Yuelu Academy has been a famous institution of higher education as well as a centre of academic activities and cultures since it was formally set up in the ninth year of the Kai Bao Reign of the Northern Song Dynasty (976AD). (Wekipedia)--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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The Academy has witnessed a history of more than one thousand years without a break, so it is called a &amp;quot;one-thousand-year-old academy&amp;quot;. The historical transformation from Yuelu Academy to Hunan University is an epitome of the development of China's higher education, which mirrors the vicissitudes of China's education system.Shortly after its establishment, Yuelu Academy was known throughout the whole of China for its style of school management and its role in the dissemination of academic learning. When Emperor Zhenzong of the Northern Song Dynasty summoned the dean, Zhou Shi, to an interview, and conferred upon the Academy his Majesty's inscription.(Chen Yuxiang, 2020, 22)&lt;br /&gt;
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The Academy has witnessed a history of more than one thousand years without a break, so it is called a &amp;quot;one-thousand-year-old academy&amp;quot;. The historical transformation from Yuelu Academy to Hunan University is an epitome of the development of China's higher education, which mirrors the vicissitudes of China's education system. Shortly after its establishment, Yuelu Academy was known throughout whole China for its style of school management and its role in the dissemination of academic learning. When Emperor Zhenzong of the Northern Song Dynasty summoned the dean, Zhou Shi, to an interview, and conferred upon the Academy his Majesty's inscription.(Chen Yuxiang, 2020, 22)--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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Yuelu Academy vaulted into great fame, and enjoyed the reputation &amp;quot;xiao xiang zhu si&amp;quot;, meaning it was a place in Hunan where great scholars assembled. It is right here that the renowned &amp;quot;Huxiang School of Learning&amp;quot; in the history of the li philosophy (the philosophy of principle) began to gain currency when Zhang Shi lectured in the Academy in the Sorthern Song Dynasty. And when Zhu Xi came here twice to give lectures, so popular were the lectures that there were too many visitors for the Academy to seat, and the water in the Yinma Pond (the Horse-Watering Pond) was drained by their horses. (Chen Yuxiang, 2020, 22)&lt;br /&gt;
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Yuelu Academy vaulted into great fame, and enjoyed the reputation &amp;quot;xiao xiang zhu si&amp;quot;, meaning it was a place in Hunan where great scholars assembled. It is right here that the renowned &amp;quot;Huxiang School of Learning&amp;quot; in the history of the li philosophy (the philosophy of principle) began to gain currency when Zhang Shi teaching in the Academy in the Sorthern Song Dynasty. And when Zhu Xi came here twice to give lectures, the Academy were packed out for its popularity, and the water in the Yinma Pond (the Horse-Watering Pond) was drained by their horses. (Chen Yuxiang, 2020, 22)--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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Later on, the Academy saw other learning and ideas promulgated and exchanged such as the Yangming School in the midst of the Ming Dynasty, the Donglin School in the last years of the Ming dynasty, the Han School of the Qian Long and the Jia Qing Reigns (1736-1821) and the New Learning of the last years of the Qing Dynasty. The academic learning and education system of Yuelu Academy have had a far-reaching impact on the formation and development of Hunan's cultural tradition.(Xu Yanwen, 2020, 18)&lt;br /&gt;
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Later on, the Academy saw other learning and ideas promulgated and exchanged such as the Yangming School in the midst of the Ming Dynasty, the Donglin School in the last years of the Ming dynasty, the Han School of the Qian Long and the Jia Qing Reigns (1736-1821) and the New Learning of the last years of the Qing Dynasty. The academic learning and education system of Yuelu Academy have a far-reaching impact on the formation and development of Hunan's cultural tradition.(Xu Yanwen, 2020, 18)--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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Yuelu Academy mainly comprises Main Gate, Lecture Hall, Lushan Temple Tablet, Yushu Library, Wenchang Pavilion, Six Gentleman Hall, Ten-sacrificial-vessels Hall, Grand Sunlight Platform, the Banxue Building, the Hexi Platform, etc.The four characters &amp;quot;Yue Lu Shu Yuan&amp;quot; (Yuelu Academy in Chinese) on the horizontal board of the Main Gate were inscriptions of Zhenzong, an Emperor of the Song Dynasty (960AD-1279AD). From then on, Yuelu Academy became well-known all around the country and students came to study in an endless stream. On the door posts of the gate are couplets which read Wei Chu You Cai, Yu Si Wei Sheng (the Kingdom of Chu, the unique home of talents; the Academy of Yuelu, the very cradle of all). This couplet originates from Chinese classics and is considered appropriate, given the fact that talents have been delivered continuously by the Academy since its establishment.(Kong Sumei, Bai Xu, 2011, 179)[[File:Gate.jpg|300px|thumb|right|the gate of Yuelu Academy]]&lt;br /&gt;
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Yuelu Academy mainly comprises the Main Gate, Lecture Hall, Lushan Temple Tablet, Yushu Library, Wenchang Pavilion, Six Gentleman Hall, Ten-sacrificial-vessels Hall, Grand Sunlight Platform, the Banxue Building, the Hexi Platform, etc. The four characters &amp;quot;Yue Lu Shu Yuan&amp;quot; (Yuelu Academy in Chinese) on the horizontal board of the Main Gate were inscriptions of Zhenzong, an Emperor of the Song Dynasty (960AD-1279AD). From then on, Yuelu Academy became well-known all around the country and students came to study in an endless stream. On the door posts of the gate are couplets which read Wei Chu You Cai, Yu Si Wei Sheng (the Kingdom of Chu, the unique home of talents; the Academy of Yuelu, the very cradle of all). These couplets originate from Chinese classics and is considered appropriate, given the fact that talents have been delivered continuously by the Academy since its establishment.(Kong Sumei, Bai Xu, 2011, 179)--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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Its architecture part had been reconstructed in 1980’s, but the garden landscape lacked unified design. Nowadays, the garden landscape of academy is losing its poetic imagery gradually. Under the principle of respecting history and spreading garden tradition, the conception of improving landscape axis for the academy and restoring Eight Scenes of Yuelu Academy is proposed for the overall restoration of the academy landscape. It is meaningful for setting a good example for the Chinese classical academy’s garden and replenishing the traditional garden art.The Lecture Hall, also called a &amp;quot;Hall of Loyalty, Filial Piety, Integrity and Chastity&amp;quot;, is a core building of the Academy. Located at the heart of the Academy, the Lecture Hall is the most important place for teaching and momentous ceremony. In the 6th year of Qiandao Reign (1168 AD), the Southern Song Dynasty, the famous idealists Zhang Shi and Zhu Xi made a joint lecture here, which was the first joint lecture in the Confucian academies of China.(Li Bo He, Xing Yao Xiong, 2012, 409)[[File:plan for Yuelu Academy.jpg|300px|thumb|right|plan for Yuelu Academy]]&lt;br /&gt;
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Its architecture part had been reconstructed in 1980’s, but the garden landscape lacked unified design. Nowadays, the garden landscape of academy is losing its poetic imagery gradually. Under the principle of respecting history and spreading garden tradition, the conception of improving landscape axis for the academy and restoring Eight Scenes of Yuelu Academy is proposed for the overall restoration of the academy landscape. It is meaningful for setting a good example for the Chinese classical academy’s garden and replenishing the traditional garden art.The Lecture Hall, also called a &amp;quot;Hall of Loyalty, Filial Piety, Integrity and Chastity&amp;quot;, is the core building of the Academy. Located at the heart of the Academy, the Lecture Hall is the most important place for teaching and momentous ceremony. In the 6th year of Qiandao Reign (1168 AD), the Southern Song Dynasty, the famous idealists Zhang Shi and Zhu Xi made a joint lecture here, which was the first joint lecture in the Confucian academies of China.(Li Bo He, Xing Yao Xiong, 2012, 409)--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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There are also many valuable cultural relics made of steles in the Lecture Hall. On the inner walls of the hall are engraved four big Chinese Characters- Zhong, Xiao, Lian, Jie (loyalty, piety, honesty and integrity) which were written by the great scholar Zhu Xi. There are others famous saying inscribed as well, such as &amp;quot;Uniform and stand as a mark of respect&amp;quot; written and set by Ouyang Zhenghuan, a master of the Qing Dynasty, and the stele &amp;quot;School Regulations&amp;quot; written by master Wang Wenqing of the Qing Dynasty are all important historical materials for the study of the education in China's Confucian academies. They still hold their own enlightening meaning to us nowadays.Having a history of more than one thousand years, there have been countless talented students learning here.(Ruan Hongsong, 2020, 62)&lt;br /&gt;
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There are also many valuable cultural relics made of steles in the Lecture Hall. On the inner walls of the hall are engraved four big Chinese Characters- Zhong, Xiao, Lian, Jie (loyalty, piety, honesty and integrity) which were written by the great scholar Zhu Xi. There are others famous saying inscribed as well, such as &amp;quot;Uniform and stand as a mark of respect&amp;quot; written and set by Ouyang Zhenghuan, a master of the Qing Dynasty, and the stele &amp;quot;School Regulations&amp;quot; written by master Wang Wenqing of the Qing Dynasty are all important historical materials for the study of the education in China's Confucian academies. They still maintain their own enlightening meaning to us nowadays.Having a history of more than one thousand years, there have been countless talented students learning here.(Ruan Hongsong, 2020, 62)--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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Especially in the late 19th century and 20th century, it witnessed a great number of patriotic thinkers, politicians, militarists, industrialists and diplomats.Today, Yuelu Academy, which has undergone restorations, has been listed as a key historical site under the state protection. It still shoulders the responsibility of conducting academic researches and training professionals.(Wang Yi, 2019, 106)--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:24, 6 December 2020 (UTC)&lt;br /&gt;
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Especially in the late 19th century and 20th century, it witnessed a great number of patriotic thinkers, politicians, militarists, industrialists and diplomats. Today, Yuelu Academy, which has undergone restorations, has been listed as a key historical site under the state protection. It still undertake the responsibility of conducting academic researches and training professionals.(Wang Yi, 2019, 106) --[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 09:09, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Xu Yanwen 徐艳文. (2020).古朴典雅的岳麓书院建筑群[The ancient and elegant Yuelu Academy Complex].''中外建筑'' Chinese&amp;amp;Overseas Architecture (06):17-20.&lt;br /&gt;
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Chen Yuxiang 陈宇翔. (2020).岳麓书院:湖湘文化传承的圣地[Yuelu Academy: The Holy Land of Huxiang culture].''新湘评论'' Xinxiang Comment (03):22-23.&lt;br /&gt;
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Kong Sumei, Bai Xu 孔素美,白旭. (2011)中国古代书院建筑形制浅析——以中国古代四大书院为例[On the architectural form of ancient Chinese academies —— Taking the four great academies in ancient China as an example].''华中建筑'' Huazhong Architecture 29(07):177-180.&lt;br /&gt;
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Luo Muhe 罗慕赫. (2020).岳麓文脉传千年[The Millennium Inheritance of Yuelu culture]. ''中国纪检监察报'' China Discipline Inspection and Supervision Newspaper 09-25(006).&lt;br /&gt;
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Ruan Hongsong 阮红松. (2020).岳麓书院与山长[Yuelu Academy and Shanzhang（principal）].''炎黄纵横'' Yan Huang Zong Heng (03):62-63.&lt;br /&gt;
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Wang Yi 王艺. (2019).沅生芷草，澧育兰花——岳麓书院[Yuan Sheng Zhi Cao, Li Yu Lan Hua —— Yuelu Academy].''广西城镇建设'' Cites and Towns Construction in Guangxi (12):104-110.&lt;br /&gt;
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Li Bo He, Xing Yao Xiong. (2012).''The Landscape Restoration Conception of Yuelu Academy''. Scenic Zone 1976:405-411. &lt;br /&gt;
&lt;br /&gt;
Daniel McMahon. (2005).''The Yuelu Academy and Hunan's Nineteenth-Century Turn Toward Statecraft''. Late Imperial China 26(1).&lt;br /&gt;
&lt;br /&gt;
Wekipedia: Yuelu Academy&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
Kai Bao Reign 开宝年间&lt;br /&gt;
&lt;br /&gt;
Emperor Zhenzong 宋真宗&lt;br /&gt;
&lt;br /&gt;
xiao xiang zhu si 潇湘洙泗&lt;br /&gt;
&lt;br /&gt;
Huxiang School of Learning 湖湘学派&lt;br /&gt;
&lt;br /&gt;
Donglin School 东林党&lt;br /&gt;
&lt;br /&gt;
Zhu Xi  朱熹&lt;br /&gt;
&lt;br /&gt;
Zhou Shi 周式&lt;br /&gt;
&lt;br /&gt;
Zhang Shi  张栻&lt;br /&gt;
&lt;br /&gt;
Qiandao Reign  乾道年间&lt;br /&gt;
&lt;br /&gt;
Wei Chu You Cai, Yu Si Wei Sheng 惟楚有才，于斯为盛&lt;br /&gt;
&lt;br /&gt;
Zhong, Xiao, Lian, Jie 忠、孝、廉、洁&lt;br /&gt;
&lt;br /&gt;
Lushan Temple Tablet 麓山寺碑亭&lt;br /&gt;
&lt;br /&gt;
Yushu Library 御书楼&lt;br /&gt;
&lt;br /&gt;
Wenchang Pavilion 文昌阁&lt;br /&gt;
&lt;br /&gt;
Six Gentleman Hall 六君子堂&lt;br /&gt;
&lt;br /&gt;
Grand Sunlight Platform 明伦堂&lt;br /&gt;
&lt;br /&gt;
the Banxue Building 半学斋&lt;br /&gt;
&lt;br /&gt;
the Hexi Platform 赫曦台&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1.When did Yuelu Academy has been formally set up?&lt;br /&gt;
&lt;br /&gt;
2.Why the water in the Yinma Pond (the Horse-Watering Pond) was drained?&lt;br /&gt;
&lt;br /&gt;
3.What is the core building of Yuelu Academy?&lt;br /&gt;
&lt;br /&gt;
4.What is the function of the Lecture Hall?&lt;br /&gt;
&lt;br /&gt;
5.How many schools, learning and ideas do Yuelu Academy relate to?&lt;br /&gt;
&lt;br /&gt;
6.What had happended in Yuelu Academy in the 6th year of Qiandao Reign?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.In the ninth year of the Kai Bao Reign of the Northern Song Dynasty (976).&lt;br /&gt;
&lt;br /&gt;
2.Because the lectures in Yuelu Academy were so popular that there were too many visitors for the Academy to seat.&lt;br /&gt;
&lt;br /&gt;
3.The Lecture Hall.&lt;br /&gt;
&lt;br /&gt;
4.The Lecture Hall is the most important place for teaching and momentous ceremony. &lt;br /&gt;
&lt;br /&gt;
5.Five.They are the li philosophy (the philosophy of principle), the Yangming School, the Donglin School, the Han School and the New Learning. &lt;br /&gt;
&lt;br /&gt;
6.It held the first joint lecture in the Confucian academies of China.&lt;br /&gt;
&lt;br /&gt;
==Currency, Jiaozi(A Paper Currency in Northern Song Dynasty) - Zou Xinyu 邹鑫雨, 202070080633, majored in English Translation==&lt;br /&gt;
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===Jiaozi(A Paper Currency in Northern Song Dynasty)===&lt;br /&gt;
&lt;br /&gt;
[[File:jiaozi.jpg|200px|thumb|left|Jiaozi(A paper currency in Northern Song Dynasty), image from Baike. Click [https://ss1.bdstatic.com/70cFvXSh_Q1YnxGkpoWK1HF6hhy/it/u=3838516284,3835551581&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
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Jiaozi was a form of banknote which appeared around the 10th century in the Sichuan capital of Chengdu, China. It is recognized as the first paper currency in history by numismatists (Li Jiashou 1993, 55). &lt;br /&gt;
Jiaozi was a form of banknote which appeared around the 10th century in the Sichuan capital of Chengdu, China. It is recognized as the first paper currency in history by numismatists (Li Jiashou 1993, 55). --[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:35, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The origin of jiaozi is still uncertain and has aroused a lot of discussion in which there are five main ideas. The first point of view was that jiaozi originated from Fei-qian (currency exchange notes in Tang Dynasty), which was recorded in The History of Song Dynasty (Tuo Tuo 1985, 181). Secondly, some people believed that jiaozi developed from contractual bonds. Peng Xinwei, a well-known Chinese currency historians and numismatics, exemplified that during the Ma Yin period of South Chu Kingdom (907-930), the iron coins in circulation were too big and heavy, making people trade with contractual bonds which had the same function as paper currency (Peng Xinwei 1965, 259). Besides, an institution in Tang Dynasty called “Gui Fang” was regarded by some people as the origin of jiaozi. This kind of institutions specialized in the storage and lending of money and commodities. In addition, there was another opinion that it was the lack of coins in circulation caused by people stopping minting iron coins during Li Shun’s uprising that promoted the origin of jiaozi (Dai Zhiqiang 2006, 43). The last thought about jiaozi’s origin was that the coins were of great weight, casting a great burden on merchants in carrying them, so they invented jiaozi.&lt;br /&gt;
The origin of jiaozi is still uncertain and has aroused a lot of discussion in which there are five main ideas. The first point of view was that jiaozi originated from Fei-qian (currency exchange notes in Tang Dynasty), which was recorded in The History of Song Dynasty (Tuo Tuo 1985, 181). Secondly, some people believed that jiaozi developed from contractual bonds. Peng Xinwei, a well-known Chinese currency historians and numismatics, exemplified that during the Ma Yin period of South Chu Kingdom (907-930), the iron coins in circulation were too big and heavy, making people trade with contractual bonds which had the same function as paper currency (Peng Xinwei 1965, 259). Besides, an institution in Tang Dynasty called “Gui Fang” was regarded by some people as the origin of jiaozi. This kind of institutions specialized in the storage and lending of money and commodities. In addition, there was another opinion that it was the lack of coins in circulation caused by people stopping minting iron coins during Li Shun’s uprising that promoted the origin of jiaozi (Dai Zhiqiang 2006, 43). The last thought about jiaozi’s origin was that the coins were of great weight, casting a great burden on merchants in carrying them, so they invented jiaozi.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:35, 19 December 2020 (UTC)&lt;br /&gt;
The appearance of paper currency in Northern Song Dynasty was not accidental, but was an inevitable product of socio-political and economic development. With the rapid development of commodity economy in Song Dynasty, there was a need for more currency in circulation, but the copper coin was in shortage and couldn't meet the demand in circulation. The iron coin was common in the Sichuan region at the time, and was of low value and heavy weight, making it extremely inconvenient to use. Chengdu was an important economic center, and the roads to the outside world were extremely rugged, so there was an objective need for a light currency, which is the main reason why paper currency first appeared in Sichuan. Furthermore, although the Northern Song Dynasty was a country of highly centralized feudal dictatorship, the national currency was not uniform and there were several currency zones, each with its own rules, which were not used by the other. In addition, the Song government was frequently attacked by the Liao, Xia and Jin dynasties, and had to issue paper currency to cover its financial deficit (Mu Zi 2006, 79). All these reasons led to the creation of the paper currency, &amp;quot;jiaozi&amp;quot;.&lt;br /&gt;
Jiaozi was actually a certificate of deposit at first. During the Song Dynasty, &amp;quot;jiaozi banks&amp;quot; appeared in Chengdu, Sichuan Province, which offered a cash-custody services for merchants who had difficulty carrying large sums of money. The depositors would deliver their deposit to the jiaozi bank, and the bank would fill in the amount of the deposit on a paper roll made of broussonetia papyrifera (paper mulberry) and return it to the depositor, for which the depositor had to pay the bank the storage fee. This kind of mulberry paper roll, on which the amount of deposit was filled temporarily, was called jiaozi (Yang Wuneng, Qiu Peihuang, 1995, 835). &lt;br /&gt;
The appearance of paper currency in Northern Song Dynasty was not accidental, but was an inevitable product of socio-political and economic development. With the rapid development of commodity economy in Song Dynasty, there was a need for more currency in circulation, but the copper coin was in shortage and couldn't meet the demand in circulation. The iron coin was common in the Sichuan region at the time, and was of low value and heavy weight, making it extremely inconvenient to use. Chengdu was an important economic center, and the roads to the outside world were extremely rugged, so there was an objective need for a light currency, which is the main reason why paper currency first appeared in Sichuan. Furthermore, although the Northern Song Dynasty was a country of highly centralized feudal dictatorship, the national currency was not uniform and there were several currency zones, each with its own rules, which were not used by the other. In addition, the Song government was frequently attacked by the Liao, Xia and Jin dynasties, and had to issue paper currency to cover its financial deficit (Mu Zi 2006, 79). All these reasons led to the creation of the paper currency, &amp;quot;jiaozi&amp;quot;.&lt;br /&gt;
Jiaozi was actually a certificate of deposit at first. During the Song Dynasty, &amp;quot;jiaozi banks&amp;quot; appeared in Chengdu, Sichuan Province, which offered a cash-custody services for merchants who had difficulty carrying large sums of money. The depositors would deliver their deposit to the jiaozi bank, and the bank would fill in the amount of the deposit on a paper roll made of broussonetia papyrifera (paper mulberry) and return it to the depositor, for which the depositor had to pay the bank the storage fee. This kind of mulberry paper roll, on which the amount of deposit was filled temporarily, was called jiaozi (Yang Wuneng, Qiu Peihuang, 1995, 835). --[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:35, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Initially, jiaozi was issued freely by merchants. In the early years of Northern Song Dynasty, &amp;quot;jiaozi banks&amp;quot; emerged in Chengdu, Sichuan province, for merchants carrying large sums of money who operated a cash deposit business. At this time, jiaozi was only a form of deposit and withdrawal receipt, not currency. With the development of the commodity economy, the use of jiaozi became more and more widespread, and many merchants joined together to set up jiaozi banks specializing in issuing and exchanging jiaozi, and they also opened branch banks in various places. Due to the creditworthiness of the jiaozi bank owners, people could withdraw their money as they came. And the printed designs of jiaozi were too exquisite to be forged, the bank owners began to print jiaozi with a uniform denomination and format, which was issued to the market as a new means of circulation. This kind of jiaozi was already the symbol for minted coins, and really became paper currency. But it had not yet been recognized by the government, and was still issued by private individuals as &amp;quot;private jiaozi&amp;quot; (Jia Daquan 1994, 22). &lt;br /&gt;
Initially, jiaozi was issued freely by merchants. In the early years of Northern Song Dynasty, &amp;quot;jiaozi banks&amp;quot; emerged in Chengdu, Sichuan province, for merchants carrying large sums of money who operated a cash deposit business. At this time, jiaozi was only a form of deposit and withdrawal receipt, not currency. With the development of the commodity economy, the use of jiaozi became more and more widespread, and many merchants joined together to set up jiaozi banks specializing in issuing and exchanging jiaozi, and they also opened branch banks in various places. Due to the creditworthiness of the jiaozi bank owners, people could withdraw their money as they came. And the printed designs of jiaozi were too exquisite to be forged, the bank owners began to print jiaozi with a uniform denomination and format, which was issued to the market as a new means of circulation. This kind of jiaozi was already the symbol for minted coins, and really became paper currency. But it had not yet been recognized by the government, and was still issued by private individuals as &amp;quot;private jiaozi&amp;quot; (Jia Daquan 1994, 22). --[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:35, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Not all jiaozi banks were law-abiding and trustworthy. During the first year of Renzong reign (1023), Xue Tian, the governor of Yizhou, reorganized the jiaozi banks, weeding out the outlaws and exclusively let sixteen wealthy merchants run the banks (Jia Daquan 1994, 61). It was only then that the issuance of jiaozi was recognized by the government. In the first year of the reign of Emperor Renzong of the Song Dynasty (1023), the government set up the Yizhou Jiaozi Affair Department, with one or two officials as supervisors to preside over the issuance of jiaozi, and set up a paper-copying academy to eliminate currency forgery, strictly enforcing the printing process. In order to ensure the proper circulation of jiaozi, the government also enacted laws to criminalize the counterfeiting of jiaozi (Hong Pimo 1991, 67). This was the earliest paper currency officially issued by the government in China - the &amp;quot;official jiaozi&amp;quot; (Li You 1935, 15).&lt;br /&gt;
Not all jiaozi banks were law-abiding and trustworthy. During the first year of Renzong reign (1023), Xue Tian, the governor of Yizhou, reorganized the jiaozi banks, weeding out the outlaws and exclusively let sixteen wealthy merchants run the banks (Jia Daquan 1994, 61). It was only then that the issuance of jiaozi was recognized by the government. In the first year of the reign of Emperor Renzong of the Song Dynasty (1023), the government set up the Yizhou Jiaozi Affair Department, with one or two officials as supervisors to preside over the issuance of jiaozi, and set up a paper-copying academy to eliminate currency forgery, strictly enforcing the printing process. In order to ensure the proper circulation of jiaozi, the government also enacted laws to criminalize the counterfeiting of jiaozi (Hong Pimo 1991, 67). This was the earliest paper currency officially issued by the government in China - the &amp;quot;official jiaozi&amp;quot; (Li You 1935, 15).--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:35, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The Northern Song government introduced a relatively comprehensive set of regulatory laws and policies in order to ensure the success of issuing jiaozi. In the beginning period of issuing jiaozi, the feudal government was cautious about the issuance of banknotes, and the introduction of laws and policies on the regulation of banknotes showed that the government was fully aware of the credit-dependent nature of banknotes and their weakness in being easy to counterfeit and issue indiscriminately. However, the feudal government often failed to effectively control the issuance of banknotes. When the government needed to spend a large amount of money, it often failed to restrain itself and abused its public credibility by using its power to issue banknotes indefinitely, which eventually caused inflation, thus making the banknotes lose their credibility and turning them into waste paper, as evidenced by the fate of jiaozi in Northern Song Dynasty. The government's abuse of credibility led to jiaozi becoming a tool for its enrichment. Without credibility, jiaozi lost its function of circulation and thus lost its own value of existence (Li Linsha, 2001, 65).&lt;br /&gt;
The Northern Song government introduced a relatively comprehensive set of regulatory laws and policies in order to ensure the success of issuing jiaozi. In the beginning period of issuing jiaozi, the feudal government was cautious about the issuance of banknotes, and the introduction of laws and policies on the regulation of banknotes showed that the government was fully aware of the credit-dependent nature of banknotes and their weakness in being easy to counterfeit and issue indiscriminately. However, the feudal government often failed to effectively control the issuance of banknotes. When the government needed to spend a large amount of money, it often failed to restrain itself and abused its public credibility by using its power to issue banknotes indefinitely, which eventually caused inflation, thus making the banknotes lose their credibility and turning them into waste paper, as evidenced by the fate of jiaozi in Northern Song Dynasty. The government's abuse of credibility led to jiaozi becoming a tool for its enrichment. Without credibility, jiaozi lost its function of circulation and thus lost its own value of existence (Li Linsha, 2001, 65).--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:35, 19 December 2020 (UTC)&lt;br /&gt;
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&lt;br /&gt;
Jiaozi facilitated the commercial turnover of Song Dynasty, bridged the economy of Sichuan with that of northwest China, and indirectly promoted the prosperity of trade between the Northern Song and western countries (Wang Baoping 2010, 50). The advent of jiaozi also facilitated commercial exchanges and made up for the shortage of money in circulation, which is a major achievement in the history of China's currency. In addition, as the earliest paper currency issued in China and even in the world, jiaozi occupies an important position in the history of printing and printmaking, and is of great significance to the study of China's ancient paper currency printing technology, as well as a contribution of China's financial industry to the world.&lt;br /&gt;
&lt;br /&gt;
Jiaozi facilitated the commercial turnover of Song Dynasty, bridged the economy of Sichuan with that of northwest China, and indirectly promoted the prosperity of trade between the Northern Song and western countries (Wang Baoping 2010, 50). The advent of jiaozi also facilitated commercial exchanges and made up for the shortage of money in circulation, which is a major achievement in the history of China's currency. In addition, as the earliest paper currency issued in China and even in the world, jiaozi occupies an important position in the history of printing and printmaking, and is of great significance to the study of China's ancient paper currency printing technology, as well as a contribution of China's financial industry to the world.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:35, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
*Li Jiashou 李家寿. (1993). 中国最早纸币——“交子”产生的原因及其年代 [The Reason and Time of the Production of the Earliest Chinese Paper Currency —Jiaozi]. ''财经研究'' Journal of Finance and Economics (12) 55-57.&lt;br /&gt;
&lt;br /&gt;
*Tuo Tuo 脱脱. (1985). ''宋史'' [The History of Song Dynasty]. Beijing: China Publishing House 中华书局.&lt;br /&gt;
&lt;br /&gt;
*Peng Xinwei 彭信威. (1965). ''中国货币史'' [The History of Chinese Currency]. Shanghai: Shanghai People’s Publishing House] 上海人民出版社.&lt;br /&gt;
&lt;br /&gt;
*Dai Zhiqiang 戴志强. (2006). 有关北宋交子的几个问题 [Several Questions About Jiaozi of Northern Song Dynasty]. ''中国钱币'' China Numismatics (03) 43-46.&lt;br /&gt;
&lt;br /&gt;
*Mu Zi 穆梓. (2006). 漫谈世界上最早的纸币——交子 [Talking About The World's Earliest Banknotes —Jiaozi]. ''中国品牌与防伪'' China Brand and Anti-counterfeiting (01) 78-79.&lt;br /&gt;
&lt;br /&gt;
*Yang Wuneng, Qiu Peihuang 杨武能、邱沛篁. (1995).''成都大词典'' [The Great Dictionary of Chengdu]. Sichuan: Sichuan Lexicographical Publishing House 四川辞书出版社.&lt;br /&gt;
&lt;br /&gt;
*Jia Daquan 贾大泉. (1994). 交子的产生 [The Production of Jiaozi]. ''西南金融'' Southwest Finance (S1) 05-26. &lt;br /&gt;
&lt;br /&gt;
*Jia Daquan 贾大泉. (1994). 张詠、薛田与交子──关于交子的产生时间、整顿和官交子务的建立 [Zhang Yong, Xue Tian And Jiaozi — On the Production, Reorganization of Jiaozi and the Establishment of the Official Jiaozi Affair Department]. ''四川文物'' Sichuan Cultural Relics (05) 58-61.&lt;br /&gt;
&lt;br /&gt;
*Hong Pimo 洪丕漠. (1991). ''法苑谈往'' [Talking About Some Rules of Ancient China]. Shanghai: Shanghai Bookstore 上海书店.&lt;br /&gt;
&lt;br /&gt;
*Li You 李攸. (1935). ''宋朝事实'' [Facts of The Song Dynasty]. Beijing: The Commercial Press 商务印书馆.&lt;br /&gt;
&lt;br /&gt;
*Li Linsha 李琳莎. (2001). 论中国早期纸币的盛行及衰落——北宋交子在货币史上的短暂一现 [On the Prevalence and Decline of the Previous Paper Money in China —— the Flash of Jiaozi in the Northern Song Dynasty]. ''上海交通大学学报（哲学社会科学版）'' Journal of Shanghai Jiaotong University(Philosophy and Social Sciences) (03) 65-68.&lt;br /&gt;
&lt;br /&gt;
*Wang Baoping 王宝平. (2010). 论交子与宋朝商业繁荣 [On the Currency of Jiaozi and Commercial prosperity in Song Dynasty]. ''开封教育学院学报'' Journal of Kaifeng Institute of Education (02) 47-50.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
{|border=&amp;quot;1&amp;quot; cellspacing=&amp;quot;0&amp;quot;&lt;br /&gt;
&lt;br /&gt;
|-&lt;br /&gt;
&lt;br /&gt;
|jiaozi||交子||Fei-qian||飞钱&lt;br /&gt;
&lt;br /&gt;
|-&lt;br /&gt;
&lt;br /&gt;
|contractual bonds||契券||the Ma Yin period of South Chu Kingdom||楚的马殷时期&lt;br /&gt;
&lt;br /&gt;
|-&lt;br /&gt;
&lt;br /&gt;
|Gui Fang||柜坊||Li Shun||李顺&lt;br /&gt;
&lt;br /&gt;
|-&lt;br /&gt;
&lt;br /&gt;
|jiaozi bank||交子铺||broussonetia papyrifera(paper mulberry)||楮树&lt;br /&gt;
&lt;br /&gt;
|-&lt;br /&gt;
&lt;br /&gt;
|private jiaozi||私交子||Xue Tian||薛田&lt;br /&gt;
&lt;br /&gt;
|-&lt;br /&gt;
&lt;br /&gt;
|Yizhou||益州||the first year of the reign of Emperor Renzong of the Song Dynasty||宋仁宗元年&lt;br /&gt;
&lt;br /&gt;
|-&lt;br /&gt;
&lt;br /&gt;
|Yizhou Jiaozi Affair Department||益州交子务||official jiaozi||官交子&lt;br /&gt;
&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.What is the earliest paper currency in the world?&lt;br /&gt;
&lt;br /&gt;
2.Why did people in the Northern Song Dynasty give up using iron and copper coins as currency in circulation?&lt;br /&gt;
&lt;br /&gt;
3.Which group of people firstly issued jiaozi?&lt;br /&gt;
&lt;br /&gt;
4.When was jiaozi officially issued by the government?&lt;br /&gt;
&lt;br /&gt;
5.What achievements did jiaozi make?&lt;br /&gt;
&lt;br /&gt;
6.What other Chinese paper currency do you know?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.Jiaozi.&lt;br /&gt;
&lt;br /&gt;
2.Because the copper coin was in shortage and couldn't meet the demand in circulation, and iron coin was common in the Sichuan region at the time, and was of low value and heavy weight, making it extremely inconvenient to use.&lt;br /&gt;
&lt;br /&gt;
3.Merchants.&lt;br /&gt;
&lt;br /&gt;
4.In the first year of the reign of Emperor Renzong of the Song Dynasty (1023).&lt;br /&gt;
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5.The advent of jiaozi facilitated commercial exchanges and made up for the shortage of money in circulation.&lt;br /&gt;
&lt;br /&gt;
6.Huizi(a paper currency in Southern Song Dynasty), the paper currency in Qing Dynasty, the paper currency in the Chinese Soviet Area Period and Renminbi.&lt;br /&gt;
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--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 07:51, 11 November 2020 (UTC)Zou Xinyu&lt;br /&gt;
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==Cosmetics, Traditional Chinese Make-Up - Zubareva, Ekaterina 201921080003==&lt;br /&gt;
--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 15:02, 14 November 2020 (UTC)&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Ancient China was the greatest power with a philosophy incomprehensible to our worldview. The culture of the East is strikingly different from that of the West. In China, it was customary for children to paint their cheeks with red paint in the form of an apple, so that the spirits, looking at the children, would be pleased, seeing that they were joyful and healthy. A fragile woman with a small foot was considered ideal. To do this, even in early childhood, girls wore tight shoes or tightly bandaged the foot so that it would stop growing.There are a lot of differences in types and ways of doing make up. [https://makiyazhglaz.com/vidy-makiyazha-glaz/istoriya-makiyazha-drevnyaya-indiya#7b3]&lt;br /&gt;
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[[File: makeup.jpg]]&lt;br /&gt;
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Let's go back to Ancient China and talk about the history of cosmetics in China. Few people find it a secret that Chinese women have a yellowish skin color. To hide this &amp;quot;flaw&amp;quot;, the women of ancient China used a powder made from rice starch. Such powder was abundantly sprinkled on the face, so many Chinese women had a snow-white face, and for contrast they painted their lips red, eyebrows shaded black. To apply blush, ancient Chinese women used vegetable broth, and the skin of the face was cleansed with milk and tea. At that time, Chinese women paid increased attention to nail care.&lt;br /&gt;
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It is worth noting that many skin care products in Ancient China cost a lot, so only wealthy people or representatives of the nobility could afford such pleasure.&lt;br /&gt;
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In our times, light types of makeup and a natural appearance are especially appreciated, while in the old days Chinese women preferred to abundantly apply a wide variety of paints to their faces, and the more paints were applied, the more beautiful a Chinese woman was considered. Accordingly, representatives of the nobility were considered the most beautiful, who had the opportunity to use the most exquisite and expensive recipes for personal care and makeup.&lt;br /&gt;
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From childhood, Chinese women were taught the science of beauty: how to apply blush, mascara, whitewash, from an early age they were accustomed to the cosmetic etiquette of those times. For example, makeup had to be applied in such a way that the face appeared impassive, and the features did not have to be harsh and rough. By the way, if a Chinese woman bared her teeth while laughing, everyone considered her ill-mannered.[https://legchina.livejournal.com/410.html]&lt;br /&gt;
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====I.Base make up====&lt;br /&gt;
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1.Lead powder&lt;br /&gt;
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In Shang Dynasty, in order to make their skin look white and delicate, people applied lead powder to their faces, and it was the most common way of makeup at that time. “Sheng Nong’s herbal classic” also mentions that women did  make up with lead and tin powder.The side effects of using lead powder were truly terrifying. Over time, the skin turned yellow, covered with wrinkles. Accordingly, more and more lead had to be applied each time.The lead is highly toxic and does great harm to the skin, which is why ancient poetry always laments that beauty is easily lost.[https://www.newhanfu.com/what-is-traditional-chinese-makeup-1.html]&lt;br /&gt;
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2.Rice powder&lt;br /&gt;
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In fact, as early as before the lead powder, people still have relatively safe base makeup products, the earliest use of rice powder is made by the rice.&lt;br /&gt;
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“Qimin Yaoshu (齐民要术)” also records the method of making rice powder in detail.Rice powder is a unique cosmetic product that can slow down the aging process, protect the skin from the effects of an aggressive environment. A weightless film appears on the face, which prevents active chemical components and dirt from entering the pores. At the same time, the composition is saturated with antioxidants that do not allow the skin to fade quickly. The selection of rice is exquisite. The way it is made: It is grinded into a fine powder, then  processed, soaked in cold water, fermented and rotted, then cleaned and drained, then exposed to the sun, and finally used for makeup. However, the adhesion of rice powder is not good, and it is easy to fall off once it moves, so it is quickly replaces by the lead powder.[https://www.newhanfu.com/what-is-traditional-chinese-makeup-1.html]&lt;br /&gt;
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====II.Color make up====&lt;br /&gt;
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If to compare to modern times, ancient Chinese make-up is not so that simple.We can devideit into three categories: blush, eyebrows, lipstick.&lt;br /&gt;
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1.Blush&lt;br /&gt;
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Blush also has a beautiful name in ancient times called Yanzhi (胭脂, rouge).&lt;br /&gt;
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Rouge also called blush or blusher, is a cosmetic for coloring the cheeks in varying shades, or the lips red. It is applied as a powder or cream. It is a kind of cosmetics made from flowers named “Hong Lan” as the main raw material after being mixed. After the Huns were introduced into the Central Plains, the production of rouge was not only limited to plants, but also added with oil, animal bone marrow, etc. to make its texture more viscous, forming a state of lipstick to adapt to different needs. Since then, the use of rouge has become more abundant.&lt;br /&gt;
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[[File: blush.jpg]]&lt;br /&gt;
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2.Lipsctick&lt;br /&gt;
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Lipstick is a popular aesthetic fashion product since the pre-Qin Dynasty. But in ancient times, it was called Chun Zhi (唇脂), or Kou Zhi (口脂). In ancient times, the color of lipstick was mostly red, which could make the color of lips more gorgeous, make people look better, more youthful and energetic. Therefore, it was deeply loved by ancient women. The painting methods of the female lip make-up in the past dynasties are different, but they can’t escape the similar aesthetics, that is, the smaller the lips, the better.Which is completely different from modern worldwide beauty standards.Diving into history helps us to see how such simples things change and the way that people's mindsets and tastes change as well.&lt;br /&gt;
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[[File: lipstick.jpg]]&lt;br /&gt;
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3.Eyebrows&lt;br /&gt;
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It is believed that eyebrows can make or break a face—they're that important. Brows frame your eyes and add structure to your face after all.&lt;br /&gt;
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Eyebrow painting tradition began in the Warring States period, but the tools for eyebrow painting did not appear at that time. The beauty-loving women used burnt willow branches as eyebrow pens. Later, “Dai (黛)” appeared. It is a kind of mineral with a dark blue color. Before use, Dai must be put on the stone inkstone and ground into powder shape. Then, add water to mix.&lt;br /&gt;
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In the Han Dynasty, it became more common and common to decorate the eyebrows, and it also derived a new aesthetic. The more women drew eyebrows, the better they looked. In a word, there were many ways to draw eyebrows in ancient times. It also means that the ancient people liked drawing eyebrows back then.&lt;br /&gt;
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[[File: eyebrows.jpg]]&lt;br /&gt;
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====III.Tang dynasty make up====&lt;br /&gt;
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[[File: tangmakeup.jpg]]&lt;br /&gt;
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1.Early Tang Dynasty&lt;br /&gt;
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The Tang dynasty makeup style can almost be called the most versatile in the entire Chinese history.In both terms of national power and politics, the Tang dynasty almost reached the pinnacle of history, and because of this prosperity, the makeup of the women’s makeup in the people’s peace of environment constantly changed.[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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With the transformation of the early Tang Dynasty, the flourishing Tang Dynasty, and the middle and late Tang Dynasty, the makeup was also making different changes, and for this reason, some special makeups were created, as we can see from the many ancient wall paintings and drawings.&lt;br /&gt;
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In the early Tang Dynasty, influenced by the short-lived Sui Dynasty (581-617), the royal family did not pursue luxury and prefered simplicity. Therefore, women's make up was subtle and graceful, slightly coated with lead powder  and  with rouge simple make up.&lt;br /&gt;
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*White make up&lt;br /&gt;
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Since ancient times, people had standards of whiter the better, so women had to apply a lot of powder.The Tang Dynasty women’s powder and style were more diversed and prevalent. During the Zhenguan period, white makeup was popular among women, It probably was as popular as same as wearing BB creams and foundations in modern girls' make up.[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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*Red make up&lt;br /&gt;
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In order to highlight the contours of the face and make the face look redder, women would choose one or a few places to dye rouge on the forehead, eyelids, cheeks, and chin during the Zhenguan to Wuzhou period.&lt;br /&gt;
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As a result, red makeup such as Huadian(花钿), Xiehong(斜红), Mianye(面靥), and other red makeup and accessories were diversified.[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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2.Flourishing Tang Dynasty&lt;br /&gt;
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After the Wuzhou period, the Tang Dynasty was at its peak, and there was closer communication between different ethnic groups, so women’s makeup also developed a new style. It was common for women to wear men’s clothing, without Weimao(帷帽)[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html] and put on a pretty make-up. However, the women’s pursuit of beauty in the Tang Dynasty did not stop there, their facial makeup also changed a lot. Women’s red makeup redder, face rouge, Huadian also more and more.&lt;br /&gt;
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For example, the Jiuyun makeup (酒晕妆, jiǔ yùn zhuāng), like a woman after drinking wine, is the most intense of the red makeup; the next is the Feixia makeup (飞霞妆, fēi xiá zhuāng), which has a white touched with red feel; the lightest is the more girly Peach-blossom makeup, light and bright as a peach blossom.[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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There were some alternative make ups as well, such as tear makeups(泪妆) and Ti makeups(啼妆, tí zhuāng), where rouge was used more and was spread all over the face.&lt;br /&gt;
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3.Middle &amp;amp; Late Tang Dynasty&lt;br /&gt;
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After the An Shi Rebellion (安史之乱), women’s makeup went through a peaceful transition period for decades, during which there were not many new styles and it became lighter.&lt;br /&gt;
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In the mid to late Tang Dynasty, due to the impact of national and social unrest, women’s lives were no longer as unrestrained as they were during the peak of the Tang Dynasty, so their makeup also gradually changed.&lt;br /&gt;
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However, the red makeup was still the mainstay, but women who liked to be different were more daring in the field of fashion and innovative makeup, but also absorbed more exotic elements, making a lot of makeup full of fantastic imagination, and even unbelievable.&lt;br /&gt;
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The most prominent of the late Tang dynasty women’s distinctive make up was the Yuanhe period’s Shishi makeup (时世妆, shí shì zhuāng).[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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It is further exaggerated on the basis of the Ti makeup, the two cheeks painted redder, lips painted black, eyebrows painted as the end of the forked “Fen Shao eyebrows (分梢眉)”, or shaped like a spring silkworm out of a cocoon “Chu Jian eyebrows (出茧眉)”, the overall image is black eyebrows, face ochre, black lips.[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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By the Changqing period, Shishi makeup was out of fashion. The woman’s black lips are no longer visible, but then another eye-opening makeup, Xie Yun makeup (血晕妆,xiě yùn zhuāng), began to prevail.[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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A simple way to describe the Xieyun Makeup is that the woman shaves off all of her eyebrows and then draws three or four red or purple lines above and below her eyes to imitate the effect of being scratched, giving the impression of a bloodied wound.&lt;br /&gt;
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4.Tang Dynasty Makeup – a reflection of the culture of the times&lt;br /&gt;
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Tang dynasty social and economic, political and cultural prosperity, open atmosphere, giving women unprecedented tolerance, women’s makeup with the historical timeline, from subtle grace to graceful and elegant, so that we can see the creativity of women and artistic charm.[https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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Although the makeup of women in ancient times was aesthetically different compared to modern times, but behind every makeup, is the performance of Chinese cultural connotation, just with the flow of history, Tang Dynasty makeup has not been continued in life.&lt;br /&gt;
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Overall, the boldness and innovation of Tang women in the pursuit of beauty and fashion have added an indelible chapter to the history of makeup and the Chinese culture.&lt;br /&gt;
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====References====&lt;br /&gt;
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*https://www.newhanfu.com/what-is-traditional-chinese-makeup-1.html --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 09:23, 7 December 2020 (UTC)&lt;br /&gt;
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*https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 09:29, 7 December 2020 (UTC)&lt;br /&gt;
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*https://makiyazhglaz.com/vidy-makiyazha-glaz/istoriya-makiyazha-drevnyaya-indiya#7b3--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 09:23, 7 December 2020 (UTC)&lt;br /&gt;
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*https://legchina.livejournal.com/410.html --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 09:23, 7 December 2020 (UTC)&lt;br /&gt;
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*http://www.chinamodern.ru/?p=1763 --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 10:14, 7 December 2020 (UTC)&lt;br /&gt;
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*https://www.chinadaily.com.cn/a/201804/21/WS5ada295aa3105cdcf6519a30.html --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 10:17, 7 December 2020 (UTC)&lt;br /&gt;
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*齐民要术》作者：贾思勰--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 05:41, 14 December 2020 (UTC) &lt;br /&gt;
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*Some Image Sources: Niki-镜子 &amp;amp; Vanessa_娜萨酱 [https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html]&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
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*齐民要术 - is the best-preserved ancient Chinese agricultural text and was written by an official of the Northern Wei Dynasty, Jia Six.&lt;br /&gt;
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*胭脂 - rouge&lt;br /&gt;
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*唇脂/口脂 - lipstick&lt;br /&gt;
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*黛 - black eyebrow dye&lt;br /&gt;
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====Questions====&lt;br /&gt;
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1.What kind of powder did the women of ancient China use to have a snow-white face?&lt;br /&gt;
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2.Why is lead powder dangerous?&lt;br /&gt;
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3.What are 3 categories of Ancient Chinese make up?&lt;br /&gt;
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4.What bacame more common in Han dynasty?&lt;br /&gt;
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5.What are the types of Early Tang dynasty's make up?&lt;br /&gt;
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6.Why is Tang dynasty make up a reflection of that time's culture?&lt;br /&gt;
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====Answers====&lt;br /&gt;
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1.Rice powder.&lt;br /&gt;
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2.Lead is highly toxic and does great harm to the skin.&lt;br /&gt;
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3.Three categories of Ancient Chinese make up : blush, eyebrows, lipstick.&lt;br /&gt;
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4.Decorating eyebrows became more common.&lt;br /&gt;
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5.White make up and Red make up.&lt;br /&gt;
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6.Tang dynasty social and economic, political and cultural prosperity, open atmosphere, giving women unprecedented tolerance, women’s makeup with the historical timeline, from subtle grace to graceful and elegant, so that we can see the creativity of women and artistic charm.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=115632</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=115632"/>
		<updated>2020-12-19T11:23:46Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* References */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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(please add your student number and major)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal and functional equivalence, the former of which pursues the equivalence in form and content and the latter of which  pursues equivalence in function between the two languages. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:10, 18 December 2020 (UTC)&lt;br /&gt;
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===key words===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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===关键字===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
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As a specific form of cultural activity, translation is characterized by the interactive conversion of original language and target language, but it does not mean that translation is limited to a certain language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style had not been covered by linguistic theory by then. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, the translator should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also made a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.(This paragraph is too long so I divided it into two parts.)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with  those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. &lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, one needs to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of readers' understanding and appreciating the original text with those of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text is called the minimum functional equivalence.The readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text,which is called the maximum functional equivalence. (Lack of the source)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures. Similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Third, if it still doesn’t work after changing the form, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but translators are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focuses mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.&lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English.(What’s the meaning of gloss translation?)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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From the perspective of linguistics, the biggest difference between Chinese and English is that Chinese is a parataxis language while English is hypotaxis. That is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter is a more dynamic one, in which verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.(separate the paragraph)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator is not allowed to add any other information at will and restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively , actually a better and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. With formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is vivider and easier to understand for the target readers.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, translators are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word which makes it even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Westerners focus more on science and will employ it to account some social phenomena.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence in form as much as possible. But actually of the two, priority is given to equivalence in content.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with are going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, translators have to choose words or phrases to express it in a different way based on the context. For example, “Take care. Hope to see you soon.” is a polite and emotional way to express feelings.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , translators have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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It is very common that a word in English may bear several different meanings, so in this case, translators have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to translators’mind but in the following sentence, it doesn’t make sense if they translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, translators can find that “club” here may refers a sort of hitting. Consequently, translators have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, proper translation skills are needed to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes translators can translate the sentence from word by word or phrase by phrase but in most cases they will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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It is obvious to see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, translators can choose literal translation so as to achieve the formal equivalence or free translation based on functional equivalence. In daily life, Chinese often greet people with “吃了吗?去哪啊?” as Chinese regard food as something that matters much to their life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus the sentence will be translated into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, it can be seen that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, translators need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I have asked Dobbin of ours to come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, translators can figure out exactly his characteristics, and reasonably infer that it actually means shy.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. Translators will find different types of texts in the process of translation and must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.(please add the source)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivider description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Theory of functional equivalence and formal equivalence matters a lot and has guided a great deal of translation practices. Though having been developed a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fittest translation.  --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, can the translation be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. Translators must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)(Separate the paragraph)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
&lt;br /&gt;
Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu-A Case Study of Folding Bijing 肖茜 Xiao Xi==&lt;br /&gt;
&amp;lt;center&amp;gt;肖茜	Xiao Xi No.202020080654 法语语言文学&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Hao Jingfang's science fiction &amp;quot;Folding Beijing&amp;quot; won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu's rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida's functional equivalence to &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. The theory of Nida's functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu's application of functional equivalence in translation, and proves the value of functional equivalence theory in translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
The success of Hao Jingfang's science fiction novel &amp;quot;Folding Beijing&amp;quot;, which won the Hugo Award for Best Novelette in 2016, could not have been achieved without the rigorous translation work of Ken Liu. The translation of this novel takes the response of the readers of the translated text as the starting point, preserving the meaning and style of the novel while effectively conveying Chinese culture, which is in line with the requirement of functional equivalence theory that &amp;quot;quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors&amp;quot;. Nida's functional equivalence theory, one of the first translation theories introduced into China, has had a profound influence on the translation studies of various literary genres in China. This paper examines the English translation of &amp;quot;Folding Beijing&amp;quot;, analyzes Ken Liu's use of Eugene Nida's functional equivalence theory in his translation, and shows the value of functional equivalence theory for the translation of science fiction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:05, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Functional Equivalence; Folding Beijing; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
刘宇昆翻译中的功能对等-以《北京折叠》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
&lt;br /&gt;
In the science fiction novel &amp;quot;Folding Beijing&amp;quot;, the future Beijing is overpopulated. To solve this crisis, it is transformed into a hierarchical Folding City. The Folding City is divided into three spaces. They share 48 hours. The first space is occupied by the upper class of society, who have a 24-hour time cycle at their disposal; the second space is occupied by the middle class, who can spend 16 hours; and the third space is occupied by the lower class, who have only eight hours of night. Lao Dao belongs to the third space. He wants to send his daughter to a good school, and in order to earn money, he ventures into the second and third spaces to deliver letters to others. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers' understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information.&lt;br /&gt;
&lt;br /&gt;
This science fiction novel has many Chinese characteristics and many Chinese native words. The cultural differences between China and the West due to regional factors and customs are a major challenge for translation. The translator must not only consider the reader's understanding and feelings, but also ensure that the local color in the work is not removed. The theory of functional equivalence suggests that translation should not be confined to form, and the translator can make necessary adjustments to the form and structure of the original text in order to achieve equivalence of content and information.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence are achieved.（Zhou Xingyang,2018:11）&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory has had a profound impact on China and has brought translators new and effective methods of translation guidance. We can see that Ken Liu is also trying to achieve balance and harmony between the translation and the original text when he translates science fiction novels. This paper analyzes the English translation of &amp;quot;Folding Beijing&amp;quot; from the perspective of functional equivalence theory and explores how translators achieve the closest equivalence to the original text and whether the ideal equivalence is achieved from the perspectives of meaning, genre and culture.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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===1. Eugene A. Nida and His Theory of Functional Equivalence===&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work Toward a Science of Translating. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers' response, not just the equivalence of content and form. （Zhao Dandan,2011:1）&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida, an American scholar and translator, explained dynamic equivalence translation in his influential book,Toward a Science of Translating. The aim of dynamic equivalence is the closest and most natural equivalence between the target text and the source text, focusing on the equivalence of the reader's response, not just the equivalence of content and form.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In his book The Theory and Practice of Translation, Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida's dynamic equivalence theory requires that the translation readers' response to the translation should be consistent with that of the original readers. （Nida,2004:24） &lt;br /&gt;
&lt;br /&gt;
In &amp;quot;The Theory and Practice of Translation&amp;quot;, Nida defines dynamic equivalence as follows. Dynamic equivalence is defined as the degree to which the receptors of information in the receptor language react to the information in essentially the same way as the receptors in the source language react to the information (Nida, 2004: 24) Nida's dynamic equivalence theory requires that the translated reader's reaction to the translation should be the same as the original reader's reaction.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. Nida divides functional equivalence into categories on two levels:the minimal level and the maximal level in his work Language, Culture and Translating. The minimal level which is a realistic definition of functional equivalence is defined as &amp;quot;The readers of a translated text should be able to comprehend it  to the point that they can conceive of how the original readers did&amp;quot; (Nida 1993:118). &lt;br /&gt;
&lt;br /&gt;
Because dynamic equivalence was controversial in some respects, Nida replaced it with a more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment required to produce a satisfactory equivalent translation. Since a functionally equivalent translation is defined as the closest and most natural equivalent translation of the source language message, the translator's achievement of functional equivalence follows three principles.In his book Language, Culture and Translation, Nida divides functional equivalence into two levels of categories:the minimal level and the maximum level.The minimal level,as a realistic definition of functional equivalence, is defined as &amp;quot;The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers did&amp;quot;.(Nida 1993:118)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence, the translator must make the translation fit (1) the context of the source-language message, (2) the receptor-language reader's response, (3) the receptor language and culture as a whole. Nida defined the reader's response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader's response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader's responses. If the target language reader's understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.（Zhao Dandan,2011:1）&lt;br /&gt;
&lt;br /&gt;
In order to achieve functional equivalence, the translator must make the translation conform to (1) the context of the source language message, (2) the response of the reader of the recipient language, and (3) the recipient language and culture as a whole. Nida defines the reader's response as the essence of his functional equivalence theory,namely from the form and content of the message to the reader's response. It differs from traditional translation theory, which emphasizes verbal comparison between the original and the target text. Functional equivalence involves the reader's response. If the target language readers' understanding and appreciation of the target language is basically the same as that of the readers of the original text, it can be regarded as functional equivalence of the target language. In other words, the functional equivalence of Nida emphasizes the reader's reaction to translation.（Zhao Dandan,2011:1）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:28, 19 December 2020 (UTC)&lt;br /&gt;
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===2. Three Functional Equivalence in the Chinese Translation of Folding Beijing===&lt;br /&gt;
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====2.1 Functional Equivalence from Aspect of Meaning====&lt;br /&gt;
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Nida and Taber stated that &amp;quot;translating consist in reproducing in the receptor language the closet natural equivalence of the source-language message, first in terms of meaning.&amp;quot; Meaning in this chapter will from three levels to discuss: words, sentences and passages, in other words, these three levels is a detailed analysis of the lexicon, syntax and discourse. According to the functional equivalence theory, translation should not only achieve literal equivalence, but also discover the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in translation of Folding Beijing from lexical, syntactic and discourse perspectives.(Nida,2004:12)&lt;br /&gt;
&lt;br /&gt;
Nida and Taber point out that &amp;quot;translation consists in reproducing the closest natural equivalence of source language information in the receptor language, above all in terms of meaning.&amp;quot; Meaning will be discussed in this chapter at three levels: word, sentence, and segment, in other words, these are the three levels of detailed analysis of lexicon, syntax, and discourse. According to the theory of functional equivalence, translation is not only about word-for-word equivalence, but also about discovering the author's true meaning. The following is a detailed analysis of how to achieve functional equivalence in the translation of Folding Beijing from the perspectives of lexis, syntax and discourse (Nida, 2004:12).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.1.1 Lexical level=====&lt;br /&gt;
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In literary translation, how to correctly interpret the meaning of a word or phrase is always a difficult problem. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is most appropriate. In the English translation of Folding Beijing, there are many examples to illustrate how the translation achieves functional equivalence with the source text in the lexical level as follows:（Din Juan,2011:22）&lt;br /&gt;
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In literary translation, it is always a challenge to correctly interpret the meaning of a word or phrase. There are two main difficulties in translating the meaning of a word or phrase. One difficulty is that many English words are polysemous, and they have more than one meaning, so it is difficult to choose the right English word without causing ambiguity. Another difficulty is that the same meaning can be translated into several English expressions, but we should carefully consider which English expression is the most appropriate. In the English translation of Beijing Folding, there are many examples of how the translation can achieve functional equivalence with the original at the lexical level, as follows: (Ding Juan, 2011:22)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1:&lt;br /&gt;
“食客围着塑料桌子，埋头在酸辣粉的热气腾腾中，饿虎扑食一般，白色蒸汽遮住了脸。油炸的香味弥漫。货摊上的酸枣和核桃堆成山，腊肉在头顶摇摆。”（Jingfang Hao 2016:1）&lt;br /&gt;
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&amp;quot;Customers packed the plastic tables at the food hawker stalls, which were immersed in the aroma of frying oil. They are heartily with their faces buried in bowls of hot and sour rice noodles, their heads hidden by clouds of white steam. Other stands featured mountains of jujubes and walnuts, and hunks of cured meat swung overhead.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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Chinese people can imagine the scene of street stalls when talking about plastic tables, but other people can't understand it. Therefore, the translator uses the word &amp;quot;the plastic tables at the food hawker stalls&amp;quot; for readers to understand. &amp;quot;Sour and spicy powder&amp;quot; is originally a kind of Chinese noodles. The author uses  &amp;quot;hot and sour rice noodles&amp;quot; to describe the taste of sour and spicy and the raw material of noodles is rice.&lt;br /&gt;
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Example 2:&lt;br /&gt;
“这时彭蠡出现了。他剔着牙，敞着衬衫的扣子，不紧不慢地踱回来，不时打饱嗝。彭蠡六十多了，变得懒散不修边幅，两颊像沙皮狗一样耷拉着，让嘴角显得总是不满意地撇着。”（Jingfang Hao 2016:3）&lt;br /&gt;
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&amp;quot;Finally, Peng Li appeared: His shirt unbuttoned, a toothpick dangling between his lips, strolling leisurely and burping from time to time. Now in his sixties, Peng had become lazy and slovenly. His cheeks drooped like the jowls of a Shar-Pei, giving him the appearance of being perpetually grumpy.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, in this way, the translation better expresses the author's intention to express the meaning of looking bad-tempered. &lt;br /&gt;
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The translator uses &amp;quot;a toothpick dangling between his lips&amp;quot; to describe the action of picking teeth，it's more detailed and vivid.  “懒散不修边幅” is translated into &amp;quot;lazy and slovenly&amp;quot; to describe Peng Li is neglectful of his appearance. “显得总是不满意地” is translated into &amp;quot;the appearance of being perpetually grumpy&amp;quot;, In this way, the translation better expresses the author's intention and conveys what appears to be a bad temper. --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 3:&lt;br /&gt;
“霓虹灯亮了，商铺顶端闪烁的小灯打出新疆大枣、东北拉皮、上海烤麸和湖南腊肉。”（Jingfang Hao 2016:9）&lt;br /&gt;
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&amp;quot;The neon lights came on. Tiny flashing LEDs on top of the shops formed into characters advertising jujubes from Xinjiang, lapi noodles from Northeast China, bran dough from Shanghai, and cured meats from Hunan.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The author did not translate directly “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is also because of the translator's own understanding of the text, he wants the readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to show the original meaning.&lt;br /&gt;
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The author did not literally translate “闪烁的小灯” into &amp;quot;the little flashing lights &amp;quot;, but &amp;quot;Tiny flashing LEDs&amp;quot;. This is owing to the translator's own understanding of the text, he hopes readers of the English translation to understand that the lights are advertising, so that customers can see and understand the selling points of the store. At the same time, “拉皮” is a special noodle in northeast China, and there is no corresponding suitable English word, so the author uses &amp;quot;lapi&amp;quot;, which is to convey the original meaning.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
=====2.1.2 Syntactic Level=====&lt;br /&gt;
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Syntax, usually defined as the study of how to construct sentences correctly with words in a language. In literary translation, the translator should make the syntax easy to be understood by the reader. The translator should take full account of the syntactic differences between English and Chinese. （Din Juan,2011:24）&lt;br /&gt;
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Syntax, as a rule, refers to the study of how to construct sentences correctly with the words in a language. In literary translation, the translator should make the syntax easy to be understood by the readers. Translators should take full account of the syntactic differences between English and Chinese.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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The difference of syntax between English and Chinese are mainly reflected in three aspects. First of all, conjunctions and relationship between words in English use frequency is very high. Secondly, English speakers put attention on object consciousness and used to the order from a small object to a large one, from specific to general; In Chinese texts, there is usually a temporal, spatial or causal sequence of time sequence. Finally, English language usually emphasizes important information at the beginning of a sentence, while the Chinese language tends to process information from the obsolete to the fresh for the purpose of impressing people.（Din Juan,2011:24）&lt;br /&gt;
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The differences between English and Chinese grammar are mainly reflected in three aspects. First, the use of conjunctions and relational words in English is very frequent. Secondly, English speakers focus on object consciousness and are accustomed to the order from small to large objects and from specific to general; in Chinese texts, there is usually a chronological order of time, space or cause and effect. Finally, English usually emphasizes important information at the beginning of a sentence, while Chinese tends to process information from the stale to the fresh in order to impress (Ding Juan, 2011: 24).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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In order to achieve functional equivalence with the original text, we should not only translate the meaning of words, but also translate the syntactic structure into a proper form. The following are some examples to show that how English translation oh Folding Beijing achieves functional equivalence to the original text in syntactic level: （Din Juan,2011:24）&lt;br /&gt;
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In order to achieve functional equivalence with the original, we must not only translate the meaning of the words, but also translate the syntactic structure into the appropriate form. The following are examples of how the English translation of Folding Beijing achieves functional equivalence with the original at the syntactic level:（Din Juan,2011:24）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1:&lt;br /&gt;
&amp;quot; 现在政府太混沌了，做事太慢，僵化，体系也改不动。'他说‘等我将来有了机会，我就推快速工作作风改革。干得不行就滚蛋。'他看老刀还是没有说话，又说, ‘选拔也要放开。也向第三空间放开。’&amp;quot; （Jingfang Hao 2016:15）&lt;br /&gt;
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&amp;quot;‘The current government is too inefficient and ossified,' he added quickly, ‘slow to respond to challenges, and I don' t see much hope for systematic reform. When I get my opportunity, I'll push for rapid reforms: Anyone who's incompetent will be fired.' Since Lao Gao still didn't seem to show much reaction, he added,‘I'll also work to expand the pool of candidates for government service and promotion, including opening up opportunities for candidates from Third Space.'&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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We can see that in the translation of this paragraph, the translator obviously adjusted the word order, and the words said by the same person before the pause were pushed into the next sentence, in order to conform to the logic of English readers. “选拔也要放开” ,the literal translation of this sentence must be incomprehensible to the readers, so the readers have supplemented and translated this sentence into &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, The translator perfectly explains what &amp;quot;放开&amp;quot; means.&lt;br /&gt;
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We can see that in the translation of this passage, the translator clearly adjusted the word order, pushing what the same person said before the pause to the next sentence to fit the logic of the English reader.&amp;quot; Selection should also be liberalized&amp;quot; ,the literal translation of this sentence must be incomprehensible to the reader, so the reader adds to this sentence and translates it as &amp;quot;I'll also work to expand the pool of candidates for government service and promotion&amp;quot;, the translator perfectly explains the meaning of &amp;quot;放开&amp;quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
“昏黄的灯光中，老刀想起过去。一个人游荡在垃圾场边缘的所有时光。”（Jingfang Hao 2016:34）&lt;br /&gt;
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“Lao Dao talked about his lonely childhood. In the dim lamplight, he recalled his childhood spent alone wandering at the edge of the landfill.” (Ken Liu 2015) &lt;br /&gt;
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In this passage, the text refers to “过去” twice with emphasis. In order to achieve the same emphasis in the English translation, the author chose to adjust the word order, placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences, rather than using a subordinate clause like &amp;quot;…childhood that…&amp;quot;.&lt;br /&gt;
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In this passage, the text emphasizes &amp;quot;the past&amp;quot; twice. To achieve the same emphasis in the English translation, the author chose to adjust the word order by placing &amp;quot;In the dim lamplight&amp;quot; between the two sentences instead of using subordinate clause like&amp;quot;... childhood that...&amp;quot;.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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Example 3:&lt;br /&gt;
“再回到第三空间，他感觉像是已经走了一个月。城市仍然在缓慢苏醒，城市居民只过了平常的一场睡眠，和前一天连续。不会有人发现老刀的离开。”（Jingfang Hao 2016:34）&lt;br /&gt;
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&amp;quot;Returning to Third Space, Lao Dao felt as though he had been traveling for a month. The city was waking up slowly. Most of the residents had slept soundly, and now they picked up their lives from where they had left off the previous cycle, No one would notice that Lao Dao had been away.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, we can see clearly that English has many more conjunctions than Chinese, like &amp;quot;as though&amp;quot;, &amp;quot;from where&amp;quot; and &amp;quot;that&amp;quot;, this is because of the difference in syntax between the two languages.&lt;br /&gt;
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In this passage, we can see clearly that English has many more conjunctions than Chinese, such as &amp;quot;as if&amp;quot;, &amp;quot;from where&amp;quot;, &amp;quot;that&amp;quot;, etc. This is because the syntax of the two languages is different.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:47, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.1.3 Discourse level=====&lt;br /&gt;
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Nida believes that a close, formal translation may be difficult for readers because of the intricate nature of the discourse structure and the presupposed knowledge about the contents in the original text. Therefore, it is necessary to choose a way of &amp;quot;rewrite&amp;quot; to make the translated text acceptable to readers. In literary translation, the translator should pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be equivalent to the original text in the level of discourse. The following part selects a dialogue and its English translation in Folding Beijing as an example of literary translation to achieve functional equivalence in discourse level.(Din Juan,2011:27）&lt;br /&gt;
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Nida argues that readers may have difficulty accepting an approximate formal translation due to the intricacies of the discourse structure and the preconceived knowledge of the original content. Therefore, it is necessary to choose a &amp;quot;rewriting&amp;quot; approach to make the translation acceptable to the reader. In literary translation, the translator must pay attention to both the content and the structure of the discourse. In the process of translation, the translation should be comparable to the original text in terms of discourse level. A dialogue from Folding Beijing and its English translation is selected below as an example of literary translation achieving functional equivalence at the discourse level:(Ding Juan,2011:27)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)&lt;br /&gt;
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“所以” 她给老刀夹了新上来的热菜，“你能不能暂时不告诉他？等我……有机会亲自向他解释可以吗？”&lt;br /&gt;
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老刀没有动筷子。他很饿，可是他觉得这时不能吃。&lt;br /&gt;
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“可是这等于我也得撒谎。”&lt;br /&gt;
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依言回身将小包打开，将钱包取出来，掏出五张一万块的纸币推给老刀。“一点心意，你收下。”(Jingfang Hao 2016:23)&lt;br /&gt;
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&amp;quot;And so&amp;quot;—she spooned a serving of the new hot dish onto Lao Dao's plate—&amp;quot;can you please not tell him, just temporarily? Please…give me a chance to explain to him myself.&amp;quot; &lt;br /&gt;
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Lao Dao didn't pick up his chopsticks. He was very hungry, but he felt that he could not eat this food.&lt;br /&gt;
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&amp;quot;Then I'd be lying, too,&amp;quot; Lao Dao said.&lt;br /&gt;
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Yi Yan opened her purse, took out her wallet, and retried five 10,000 yuan bills. She pushed them across the table toward Lao Dao. &amp;quot;Please accept this token of my appreciation.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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The conversational habits in Chinese are different from those in English, so some adjustments are often made when translating. The form of the dialogue is not completely translated from Chinese, but for the reader, the understanding of the text is the same. For example，“夹了新上来的热菜”translated into &amp;quot;spooned a serving of the new hot dish&amp;quot;, the translator changed the action to &amp;quot;spoon&amp;quot;, which is more suitable for Yi Yan's identity image, it is more suitable as a girl in the first space to spoon the vegetables to Lao Dao. “推给老刀”translated into &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, this sentence adds some action to make it more pictorial.&lt;br /&gt;
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Conversational conventions in Chinese are different from those in English, so some adjustments are often made in translation. The form of the dialogue is not exactly translated from Chinese, but the understanding of the text is the same for the readers. For example, &amp;quot;夹了新上来的热菜&amp;quot; is translated as &amp;quot;spooned a serving of the new hot dish&amp;quot;, and the translator changes the action to &amp;quot;spoon&amp;quot;, which is more in line with Yi Yan's identity image, it is more suitable as the girl in the first space to spoon the dish to the old knife.&amp;quot;推给老刀&amp;quot; is translated as &amp;quot;She pushed them across the table toward Lao Dao&amp;quot;, which adds some actions to make it more vivid.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 09:55, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Functional Equivalence from Aspect of Style====&lt;br /&gt;
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Every writer has his own writing style, and no one can imitate it perfectly. That is to say, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows the language characteristics, and the English translation can also see that the translator tries to achieve the functional equivalence on the stylistic level.（Din Juan,2011:30）&lt;br /&gt;
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Each writer has his or her own writing style, which no one can imitate perfectly. In other words, in translation, it is impossible for the translator to translate the author's writing style exactly the same. Through the application of rhetoric and dialect, the original text shows linguistic characteristics, and the English translation shows the translator's attempt to achieve functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.2.1 Rhetoric=====&lt;br /&gt;
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First of all, rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form and is a counterpart of dialectic. The use of rhetoric can create vivid images, vivid scenes, improve the effect of literature.（Din Juan,2011:30）&lt;br /&gt;
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Rhetoric is an important part of the study of style. Aristotle (384-322 B.C.) believed that style is form, the counterpart of dialectic. The use of rhetoric can create vivid images, vibrant scenes, and enhance the effectiveness of literature.（Din Juan,2011:30）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1:&lt;br /&gt;
老刀的肚子也感觉到饥饿。他迅速转开眼睛，可是来不及了，那种感觉迅速席卷了他，胃的空虚像是一个深渊，让他身体微微发颤。(Jingfang Hao 2016:2)&lt;br /&gt;
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&amp;quot;Lao Dao's stomach growled. He quickly averted his eyes, but it was too late. His empty stomach felt like an abyss that made his body tremble.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this passage, the original text compares a hungry stomach to an abyss, and the English translation also uses this metaphor to form a rhetorical functional equivalence.&lt;br /&gt;
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In this passage, the original text compares a hungry stomach to &amp;quot;深渊&amp;quot;, and the English translation also uses this metaphor to form a rhetorical functional equivalent.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
不远不近的距离，就像遥望西山或是海上的一座孤岛。(Jingfang Hao 2016:10)&lt;br /&gt;
&amp;quot;The distance was perfect for taking in the whole city, like gazing at an island in the sea.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
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In this paragraph, it is a metaphor, and the words &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated, only translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.&lt;br /&gt;
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It is a metaphorical sentence and words like &amp;quot;西山&amp;quot; and &amp;quot;孤&amp;quot; in the original text are not translated. They are translated into &amp;quot;an island in the sea&amp;quot;, this description is enough to show the image of a folded city.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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Example 3:&lt;br /&gt;
高楼像最卑微的仆人，弯下腰，让自己低声下气切断身体，头碰着脚，紧紧贴在一起，然后再次断裂弯腰，将头顶手臂扭曲弯折，插入空隙…楼宇由折叠中站立起身，在灰蓝色的天空中像苏醒的兽类。(Jingfang Hao 2016:10)&lt;br /&gt;
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&amp;quot;The skyscrapers bowed submissively like the humblest servants until their heads touched their feet; then they broke again, folded again, and twisted their necks and arms, stuffing them into the gaps… The buildings unfolded and stood up, awakening like a herd of beasts under the gray–blue sky.&amp;quot;  (Ken Liu 2015)&lt;br /&gt;
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It has a personification in this paragraph, &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks and arms&amp;quot;, and &amp;quot;like the humblest servants&amp;quot;, the use of rhetoric enables people to imagine the folding picture of the city through the human image. By comparing the building to a herd of beasts, it shows its size and the sense of fear and oppression it brings.&lt;br /&gt;
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This paragraph has a personification that &amp;quot;skyscrapers&amp;quot; have &amp;quot;heads, feet, necks, and arms&amp;quot; and are &amp;quot;like the humblest of servants,&amp;quot; and the use of rhetoric allows people to imagine the folding diagram of the city through the image of a person. By comparing the buildings to a herd of beasts, it shows its scale and the sense of fear and oppression it brings.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
Example 4:&lt;br /&gt;
直到建成的日子高楼如活人一般站立而起，他们才像惊呆了一样四处奔逃，仿佛自己生下了一个怪胎。(Jingfang Hao 2016:11)&lt;br /&gt;
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&amp;quot;Finally, when the completed building stood up before them like a living person, they had scattered in terror, as though they had given birth to a monster.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
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In this sentence, although &amp;quot;怪胎&amp;quot; translate into &amp;quot;monster&amp;quot;, the &amp;quot;生&amp;quot;express also the same meaning, so the translator does not struggle.&lt;br /&gt;
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In this sentence, &amp;quot;怪胎&amp;quot; is translated as &amp;quot;monster&amp;quot; and &amp;quot;born&amp;quot; conveys the same meaning, so the translator did not have any trouble.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.2.2 Dialects=====&lt;br /&gt;
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Dialect embodies the local characteristics, is the author's own writing style. Sometimes it's a problem in translation. In the following example, we can see how the translator handles this problem.（Din Juan,2011:33）&lt;br /&gt;
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The dialect reflects the local characteristics and is the author's own writing style. Sometimes this is a problem in translation. In the following example, we can see how the translator deals with this problem. (Dingjuan, 2011:33)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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For example, &amp;quot;伙计&amp;quot; in English &amp;quot;waiter&amp;quot; ,&amp;quot;铺盖卷&amp;quot; in English &amp;quot;bedrolls&amp;quot; ,&amp;quot;闺女&amp;quot;is translated as  &amp;quot;real daughter&amp;quot; ,&amp;quot;她们认死理儿&amp;quot; is translated as &amp;quot;they don't know how to be flexible&amp;quot;,&amp;quot;只是这么多年过来，人就木了.&amp;quot; (Jingfang Hao 2016:33) is translated into“But after so many years, you grow a bit numb.&amp;quot; (Ken Liu 2015) We can see that when translators translate dialects with Chinese local characteristics, they pay more attention to the level of semantic understanding rather than the formal equivalence.&lt;br /&gt;
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In short, whether the use of rhetoric or dialect in literature, can fully reflect the author's writing style. Therefore, in literary translation, the translator should study the differences between the source language and the target language in the ways to express stylistic differences, and find out the best way to make up for these differences. In this way, literary translation can achieve maximum functional equivalence at the stylistic level.&lt;br /&gt;
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In conclusion, the use of either rhetoric or dialect in literary works fully reflects the author's writing style. Therefore, in literary translation, translators should study the differences between the source language and the target language in the way of expressing stylistic differences and find out the best way to compensate for these differences. In this way, literary translation can achieve the maximum functional equivalence at the stylistic level.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:07, 19 December 2020 (UTC)&lt;br /&gt;
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====2.3 Functional Equivalence from Aspect of Culture====&lt;br /&gt;
&lt;br /&gt;
In the process of translation, the cultural difference between the two languages is also an issue that translators should pay attention to. People who come into contact with different cultures have different ways of thinking, values and social customs and so on. Translators need to understand the two cultures and fully express the cultural elements contained in the original text. At this time, translation plays a role in cross-cultural communication. The translator must present the cultural meaning shown or implied in the original text to the readers so that the translation can achieve the cultural equivalence with the original text. In this chapter, we will analyze the English translation of Folding Beijing from the perspective of food culture,  folk culture and culture of idioms, so as to explain how it achieves the functional equivalence with the original text.（Zhou Xingyang,2018:47）&lt;br /&gt;
&lt;br /&gt;
Cultural differences between two languages are also issues that translators should be aware of in the translation process. People who are exposed to different cultures have different ways of thinking, values, social customs, etc. Translators need to understand both cultures and fully express the cultural elements contained in the original text. At this point, translation plays a role in intercultural communication. The translator must present the cultural meaning shown or implied in the original text to the reader so that the translation achieves cultural equivalence with the original text. This chapter will analyze the English translation of Folding Beijing from the perspectives of food culture, folk culture, and idiom culture to show how it achieves functional equivalence with the original text. (Zhou Xingyang,2018:47)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
=====2.3.1 Food Culture=====&lt;br /&gt;
&lt;br /&gt;
The city described by Beijing Folding is the political and cultural center of China, and it is a city with profound cultural deposits. There are a lot of contents belonging to traditional Chinese food culture in the novel. This part will analyze how the translator translates these delicacies to achieve functional equivalence.（Din Juan,2011:39）&lt;br /&gt;
&lt;br /&gt;
The city described in  Folding Beijing is the political and cultural center of China, a city with deep cultural accumulation. In the novel, there are many elements belonging to traditional Chinese food culture. This part will analyze how the translator managed to translate these cuisines into a successful counterpart.（Din Juan,2011:39）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…面前摆着一盘炒面或炒粉… &amp;quot;(Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Each kid had a plate of chow mein or chow fun…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot;is a well-known traditional snack in China. The translator makes it into &amp;quot;chow mein&amp;quot;, rather than &amp;quot;Chinese stir-fried noodles&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means a Chinese-style dish of fried noodles served with small pieces of meat and vegetables. This translation also makes it more intuitive for the reader to know what the food is.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;炒面&amp;quot; is a famous traditional Chinese snack. Translators translate it as &amp;quot;chow mein&amp;quot; instead of &amp;quot;Chinese chow mein&amp;quot;. In the dictionary, &amp;quot;chow mein&amp;quot; means Chinese-style fried noodles with small pieces of meat and vegetables. This translation also gives the reader a more intuitive idea of what the dish is.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;老葛又拿来半瓶白酒和两个玻璃杯，倒上。&amp;quot;(Jingfang Hao 2016:32)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…over a half bottle of baijiu…&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The foreignizing translation is adopted here, &amp;quot;白酒&amp;quot; is translated into &amp;quot;baijiu&amp;quot; , the translator doesn't use the word like &amp;quot;spirits&amp;quot;, it not only retains Chinese cultural characteristics, but also achieves communicative effect.&lt;br /&gt;
&lt;br /&gt;
Here, foreignization method is used, and &amp;quot;白酒&amp;quot; is translated as &amp;quot;baijiu&amp;quot;. The translator does not use words like &amp;quot;spirits&amp;quot;, which retains Chinese cultural characteristics and achieves a communicative effect at the same time.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
&amp;quot;哎，你们知道那儿一盘回锅肉多少钱吗？&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…how much they charge for an order of twice -cooked pork over there?&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The special feature of this dish is that it is boiled in water and then stir-fried. The translator captures this feature in translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, and this dish is made with pork, he wants readers of the English translation to see an image of the dish in their heads in the same way that Chinese people do.（Zhou Xingyang,2018:53）&lt;br /&gt;
&lt;br /&gt;
The characteristic of this dish is that it is first boiled in water and then stir-fried. The translator has captured this feature in his translation, trying to make people understand the meaning of &amp;quot;回锅&amp;quot;, which is made with pork, and he hopes that readers of the English translation will see the image of this dish in their minds, just like the Chinese do.（Zhou Xingyang,2018:53）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
=====2.3.2 Folk Culture=====&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique way of life, customs and traditions, behavior patterns and other aspects of vocabulary. The following will analyze the translator's functional equivalence in folk culture.（Zhou Xingyang,2018:52）&lt;br /&gt;
&lt;br /&gt;
Chinese people also have their own unique lifestyles, customs, behavior patterns, etc. in terms of vocabulary. The following will analyze the functional equivalence of translation in folk culture. (Zhou Xingyang,2018:52).--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&amp;quot;…几个人分吃两个菜…&amp;quot; (Jingfang Hao 2016:2)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;…and they shared two dishes family-style.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where several dishes are shared among friends and family. The purpose of the passage is to show the poverty of the boys. The translator takes into account the differences between Chinese and Western cultures，Western behavior is different. so he uses the word &amp;quot;shared&amp;quot; and he adds the word &amp;quot;family-style&amp;quot; to make it easier for the reader to understand the behavior. &lt;br /&gt;
&lt;br /&gt;
&amp;quot;分吃&amp;quot; is the most common way of eating in traditional Chinese culture, where friends and relatives share several dishes among themselves. The purpose of the passage is to show the boy's poverty. The translator takes into account the differences between Chinese and Western cultures, where Westerners behave differently, so he uses the word &amp;quot;sharing&amp;quot; and adds the word &amp;quot;family style&amp;quot; to make it easier for the reader to understand this behavior.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;咱们也算半个老乡吧。”老葛说，“所以不用太拘束。我还是能管点事儿，不会把你送出去的。&amp;quot;(Jingfang Hao 2016:27)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We're practically from the same hometown! So, you don't need to be so careful with me. I still have a bit of authority, and I won't give you up.&amp;quot; (Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is a major feature of Chinese culture. Those from the same hometown share similar living habits, growing environment and cultural background, so even strangers can get familiar with each other quickly and even help each other. Since Lao Ge and Lao Dao come from the third space, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective. &amp;quot;管事儿&amp;quot;means to have some authority. The translator also explains this word so that readers can understand it easily.&lt;br /&gt;
&lt;br /&gt;
The culture of hometown is one of the major characteristics of Chinese culture. People from the same hometown share similar living habits, upbringing and cultural background, so even strangers can get acquainted quickly and even help each other. Since Lao Ge and Lao Dao are from the third dimension, the translator explains the term &amp;quot;老乡&amp;quot; from a geographical perspective.&amp;quot; 管事儿&amp;quot; means to have some authority. The translator also explains this word to make it easy for readers to understand.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&amp;quot;一点心意，你收下。&amp;quot; (Jingfang Hao 2016:23)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please accept this token of my appreciation.&amp;quot;(Ken Liu 2015)&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan said that she hoped Lao Dao could help her keep a secret, so she wanted to give Lao Dao with money. &amp;quot;心意&amp;quot; means money, which is an euphemism used in China when it is inconvenient to offer money directly. In translation, the translator also considered an euphemistic way of expression, so he used the word &amp;quot;appreciation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this passage, Yi Yan says that she hopes Lao Dao will help her keep her secret, so she wants to use money to give Lao Dao.&amp;quot; 心意&amp;quot; means money, which is a Chinese euphemism when it is not convenient to give money directly. In the translation, the translator also considered it a euphemism, so the word &amp;quot;appreciation&amp;quot; was used.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.3.3 Culture of Idioms=====&lt;br /&gt;
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Idioms are an important part of the extensive and profound Chinese culture. Chinese people always use them in their daily life and in their writing. However, some idioms sometimes have different meanings in different contexts, and the translation should pay attention to the differences between the two cultures.（Zhou Xingyang,2018:51）&lt;br /&gt;
&lt;br /&gt;
Idioms are an important part of the vast and profound Chinese culture. Chinese people use these idioms in their daily life and writing, but some idioms sometimes have different meanings in different contexts. However, some idioms sometimes have different meanings in different contexts, and it is important to pay attention to the differences between the two cultures when translating them.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The author used many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, the translator translated it into &amp;quot;ate heartily&amp;quot;, although the translation is easy to understand, but without the image that people are very hungry to eat, from the perspective of functional equivalence, English readers seem to be unable to reach the same level of understanding and response as Chinese readers.&lt;br /&gt;
&lt;br /&gt;
The author uses many idioms in the article, such as &amp;quot;饿虎扑食&amp;quot;, which the translator translates as &amp;quot;to eat in a heartbeat&amp;quot;. Although the translation is easy to understand, without the image of a person eating very hungry, it seems that English readers cannot achieve the same understanding and reaction as Chinese readers from the perspective of functional equivalence.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;（盘子）一片狼藉&amp;quot;translated into &amp;quot;The dishes were a mess&amp;quot;, it is a brief description of the mess. And &amp;quot;成人之美&amp;quot; translated into &amp;quot;in that case I'll have done a good deed by keeping silent&amp;quot;, the idiom in the original text was originally used to describe Lao Dao's feeling that he was keeping secrets and that Yi Yan and Qin Tian might get together in the future. The translator abstractly translated the sentence in the English translation.&lt;br /&gt;
&lt;br /&gt;
And &amp;quot;(盘子)一片狼藉&amp;quot; is translated as &amp;quot;the plate is a mess&amp;quot;, which is a description of a messy situation on the plate. And &amp;quot;the beauty of adulthood&amp;quot; is translated as &amp;quot;in that case, I am doing a good deed by keeping quiet&amp;quot;, the idiom in the original text was originally used to describe how Lao Dao felt that he kept the secret that Yi Yan and Qin Tian might be together in the future. The translator translated the phrase abstractly into the English translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:22, 19 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
From the analysis of the English translation of Folding Beijing from three aspects: meaning, style and culture with the theory of functional equivalence in this paper, and it is believed that the English translation conforms to the understanding of English readers to the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and equivalent Chinese translation of Folding Beijing to the English reader.（Zhou Xingyang,2018:56）&lt;br /&gt;
&lt;br /&gt;
The English translation of Folding Beijing is analyzed from three aspects of meaning, style, and culture using this paper's functional equivalence theory, and it is concluded that the English translation meets the English readers' understanding of the specific information in the text. According to Nida's functional equivalence theory and its translation purposes and strategies, the translator brings a natural and reciprocal Chinese translation of Folding Beijing for English readers. (Zhou Xingyang,2018:56)--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is essentially the same as that of the source language readers, so the target language can be regarded as a functional equivalence translation. Analyze from three aspects: meaning, style and culture &amp;quot;Folding Beijing&amp;quot; English version, you can see on the language, while Chinese and English in logic and grammar are greatly different, there exist many differences in the Chinese culture and western cultures, but the translator still tries his best to keep the content of the original text in the translation and find more appropriate words.&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence theory emphasizes that the target language readers' understanding and appreciation of the target language is basically the same as that of the source language readers, so the target language can be regarded as a functionally equivalent translation. Analyzing the English version of Folding Beijing from three aspects: meaning, style and culture, we can see that linguistically, although Chinese and English are very different in logic and grammar, and there are many differences between Chinese and Western cultures, the translator still tries to keep the original content and find more suitable words in the translation.--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In terms of some specific content, the translator does not translate into exactly the same form, which is also consistent with Nida's functional equivalence theory, because Nida also proposed that translation should not be limited to form, but the translator can make necessary adjustments to the form and structure of the original text, so as to achieve equivalence between content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original text, which may be an area for improvement. Nida's theory of functional equivalence does provide a good theoretical model for the translation of science fiction, which is of great value.（Tan Zaixi,1999）&lt;br /&gt;
&lt;br /&gt;
In some specific contents, the translators do not translate into exactly the same form, which is also in line with Nida's theory of functional equivalence, because Nida also suggests that translation should not be limited to form, and the translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. However, in some details, such as idioms, the translator's translation fails to achieve the same effect as the original, which may be an area for improvement. Nida's functional equivalence theory does provide a good theoretical model for the translation of science fiction novels, which is of great value.（Tan Zaixi,1999）--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 10:25, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang.(2015).Folding Beijing[J]. Ken Liu (trans.). A Magazine of Science Fiction and Fantasy&lt;br /&gt;
&lt;br /&gt;
Hao Jingfang郝景芳.(2016).孤独深处[The Depth of Loneliness].南京：江苏凤凰文艺出版社[Nanjing:Jiangsu phoenix literature and art publishing,LTD]：1-40&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(1993)Language, Culture, and Translating[M].Shanghai: Shanghai Foreign Language Education Press：118&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A.(2001)Language and Culture: Context in Translating[M]. Shanghai: Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Nida,Eugene A. &amp;amp; Taber.(2004) Charles R. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press：12-24&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999).新编奈达论翻译[A new version of Nida's theory on translation].北京:中国对外翻译出版公司[Beijing:China Translation and Publishing Corporation]&lt;br /&gt;
&lt;br /&gt;
Xu Jun,Mu Lei许钧,穆雷.(2009).翻译学概论[Introduction to translatology].南京：译林出版社[Nanjing: Yilin Press]&lt;br /&gt;
&lt;br /&gt;
Zhao Dandan赵丹丹.(2011).浅论奈达的功能对等理论[Nida's theory of functional equivalence].湖北：文学教育[Hubei:Literature Education]&lt;br /&gt;
&lt;br /&gt;
Zhou Xingyang周兴阳.(2018).从功能对等理论视角看《北京折叠》英译本研究[Chinese Science Fiction Translation in the Perspective of Functional Equivalence-A case Study of Beijing Zhe Die and its English Version-Folding Beijing].新疆大学[Xinjiang University]&lt;br /&gt;
&lt;br /&gt;
Wang Guiyuan王桂圆.(2018)系统功能语言学视角下《北京折叠》英译研究[A Study on The Translation of Folding Beijing from the Perspective of Systemic Functional Linguistics].安徽：海外英语[Anhui：Overseas English]&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
&amp;lt;center&amp;gt;余妮 Yu Ni No.202070080620&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.  &lt;br /&gt;
&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. Besides, there are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s version has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation.  --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. &lt;br /&gt;
&lt;br /&gt;
“The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy”(Shi Qiulei,2012). In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating. This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 10:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In the 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
&lt;br /&gt;
The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) which was co-translated by Kong Xiangwo and Wang Jing in 1921” (Wu Shanshan, 2012). In 1980s, Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable, for it has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
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American linguist Eugene A. Nida put forward the theory of “functional equivalence”, that is, “the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word” (Eugene A. Nida,1969), which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. With the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
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The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The following chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author makes a conclusion.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.&lt;br /&gt;
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In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, according to the nature of translation. He pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language(Guo Jianzhong, 2000).&lt;br /&gt;
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The equivalence in “dynamic equivalence” includes four aspects—lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that meaning is the most important, followed by form. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, we should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural reaction of the source language in the target language(Guo Jianzhong, 2000).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
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Firstly, we should create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. “However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. (Guo Jianzhong, 2000)” Therefore, it is impossible to create perfect translation which fully displays the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Secondly, if meaning and culture cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?&lt;br /&gt;
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Secondly, if meaning and culture concepts cannot be taken into account at the same time, “the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation” (Guo Jianzhong, 2000). For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost not much snow in southern China all year round. Therefore, based on their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow?--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”. (Guo Jianzhong, 2000)&lt;br /&gt;
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In the translation, translators can eliminate cultural differences by changing the form of vocabularies. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and the image of “雨后春笋”. (Guo Jianzhong, 2000)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.&lt;br /&gt;
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Thirdly, if the change of form is not enough to express the meaning and culture of the original text, “the translation technique of recreate can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence” (Guo Jianzhong, 2000). “Re-creation” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:12, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).&lt;br /&gt;
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Oscar Wilde, born in Dublin, Ireland, is a “born for art” writer. He was known for his plays, poetry, fairy tales and novels. As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.&lt;br /&gt;
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The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In this play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.(Wilde, 2009)&lt;br /&gt;
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Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies, revealing the hypocritical ethical concepts in Victorian era.(Wilde, 2009)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)&lt;br /&gt;
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Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is frequently used in the play, including the drama title and characters’ names.(Yu Guangzhong, 1986)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:17, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).&lt;br /&gt;
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The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).&lt;br /&gt;
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Qian Zhide translated it as “名叫埃纳斯特的重要性”. He just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared to previous versions, his version was more personal, as his own reminder of the original texts. In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. “It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times” (Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).&lt;br /&gt;
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Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. “Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into ‘认真为上’”(Tong Fangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).&lt;br /&gt;
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From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.Because of political reasons, studies on Wilde stopped for some time.In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》).” So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers”(TongFangli,2006).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:21, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). &lt;br /&gt;
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Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections. Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
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He holds that translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).&lt;br /&gt;
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Yu Guangzhong’s version of The Importance of Being Earnest was first published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers but also for Chinese audiences and actors. Therefore, his translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:24, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
====Translation Strategies of Yu Guangzhong’s Version==== &lt;br /&gt;
=====Translation of the Drama Title=====&lt;br /&gt;
So far, there are three famous versions of The Importance of Being Earnest. Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).&lt;br /&gt;
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So far, there are three famous versions of The Importance of Being Earnest—Yu Guangzhong’s “不可儿戏”, Zhang Nanfeng’s “认真为上” and Qian Zhide’s “名叫埃纳斯特的重要性”. “Among these three versions, Yu Guangzhong’s is the most popular one, which is also consistent with functional equivalence” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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“Functional equivalence emphasizes that translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play. &lt;br /&gt;
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“Functional equivalence emphasizes translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language” (Eugene A. Nida,1969). Wilde created a character named “Ernest” in the play. As we all know, “Ernest” and “earnest” are homonyms, so the drama title is a pun. It not only expresses “the importance of being earnest”, but also “the importance of naming “Ernest”. After all, “Ernest” is a name favored by two girls in the play.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu Guangzhong’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).&lt;br /&gt;
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Qian Zhide’s version expressed the literal meaning, which achieved equivalence in meaning. However, Zhang Nanfeng’s version represented the implied meaning. In Yu’s version, he translated the implied meaning and revealed the theme of the play that one should be serious about everything in life. The function of the title is to reveal the theme of the novel. “In Yu’s version, the information was reproduced and it echoed lady Bracknell’s words at the end of the play. So, it was more in line with Chinese readers’ preference” (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:26, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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=====Translation of Characters’ Names=====&lt;br /&gt;
“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but different in meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.&lt;br /&gt;
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“Pun was widely used in this play, especially in characters’ names” (Yang Wenqian, 2014), and Yu Guangzhong translated it almost perfectly. In essence, pun is a deliberate word play. It usually appears when two words are similar or identical in their sound, but in different meaning. The effect of pun can be humorous, rhetorical and even bitter at times. Regardless of the brilliant effect of a pun, it is merely a tool for the author to get him across, not just a decoration.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.&lt;br /&gt;
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Yu Guangzhong translated the character “Ernest” created by Jack into “任真”. In English, “Ernest” and “earnest” are homonyms, and “earnest” means to be serious about something. “In Chinese, “任真” and “认真” are homonyms，like the English homonyms” (Yin Lijing, 2012). Yu employed the domestication method to translate it into “任真”, and Zhang Nanfeng employed the foreignization method to translate it into ‘埃纳斯特’. It was translated into “任真” and gave him the Chinese surname “华”, which was from his family name “Worthing” in English.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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It not only facilitated the needs of the audience, but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience will be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)&lt;br /&gt;
&lt;br /&gt;
It not only facilitated the needs of the audience but also considered the feelings of readers. If “Ernest” was translated into “埃纳斯特”, the audience would be confused and do not understand the humor and irony of the language. In the other hand, “认真” is too direct to let readers experience the beauty of pun by thinking it over themselves. “华任真” retains the ironic effect to the greatest extent, and it does not make the audience feel confused when they hear “埃纳斯特”. (Wang Chao, 2016)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.&lt;br /&gt;
&lt;br /&gt;
In this way, the form of original works was preserved, from a pun in English to a pun in Chinese. “From the perspective of linguistics, one of the ideal translation methods is pun into pun” (Yin Lijing, 2012). And the irony effect in Wilde’s original works can be kept to the greatest extent, as if it had just been transmigrated from English to Chinese.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated the character “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text. &lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong translated “Bunbury” created by Algernon into “梁勉仁”. The original meaning of “Bunbury” is “sightseeing tour”, which implies an excuse to evade responsibility as well. That’s exactly why Algernon intended to make up the character. “When he didn’t want to show up in some situation, he lied that his intimate named “Bunbury” was ill and he couldn’t keep the appointment because he needs to take care of him” (Yu Guangzhong, 1986). With the guidance of traditional transliteration method, we should consequently translate it into “邦伯里”. But Yu Guangzhong’s version adds beauty to the original text.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language are the same. &lt;br /&gt;
&lt;br /&gt;
In Chinese, “梁勉仁” and “两面人” are homonyms, referring to double-faced people. In Wilde’s original text, “Bunbury” is not a pun. But in Yu Guangzhong’s version, he added a pun in the process of translation. Both of the Chinese name “梁勉仁” and English name “Bunbury” are names which are correct in lexical aspect. Moreover, “they expressed the same meaning that the person who named like that was double-faced” (Wang Chao, 2016), so the function of the original and the target language remain the same.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong’s version of the tutor Miss Prism is “劳小姐”. The name “Prism” and the word “prim” form a homophonic pun. Wilde aims to allude to his rigid character through this name. In Chinese, “劳” “老” and “牢” are homonyms, aiming at showing Miss Prism’s strict control over her student, Miss Cecily. It seems that her name not only adds the meaning “old lady” and “prison”, but also highlights the original work’s depiction of her rigid personality.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.&lt;br /&gt;
&lt;br /&gt;
In China, people’s surnames stand behind their last name, and their names are short. “European and American names are different and most of them are long and awkward for Chinese readers” (Wang Chao,2016). This kind of cultural difference often weakens the interest of many readers and audiences in the translated works, especially dramas. But Yu Guangzhong’s version not only translates the meaning of Wilde’s original work, but also has Chinese characteristics. He did not translate the name according to its pronunciation, but created Chinese names which can not only be in accordance of Chinese names, but also express the ironic meaning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:32, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
=====Translation of Characters’ Dialogues=====&lt;br /&gt;
“There are a lot of allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, especially for the audience, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.&lt;br /&gt;
&lt;br /&gt;
“There are many allusions and idioms both in Chinese and English. Cultural differences make English allusions and idioms become key points in translation, especially in drama translation which focuses on watching rather than reading” (Liang Wei, 2009). In order not to affect Chinese readers’ understanding of the plots, Yu Guangzhong boldly adopted the substitution technique in the translation of dialogues, which can better convey the unique charm of Wilde’s language. Following, we will analyze Yu Guangzhong’s version from the perspective of rhetorical sentences, including alliteration, paradox and antithesis.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
======Alliteration======&lt;br /&gt;
&amp;quot;Many English allusions and idioms are used in Wilde’s plays&amp;quot; (Yang Wenqian, 2014). The author chose two examples of alliteration sentences. Alliteration is the earliest phonetic rhetoric technique with rhythm and beauty in English. In Yu Guangzhong’s version, he not only remained the rhetorical form but also preserved the flavor of the original work.&lt;br /&gt;
&lt;br /&gt;
 (1)ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
    亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
In this example, Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.&lt;br /&gt;
&lt;br /&gt;
(1) ALGERNON. I hear her hair turned quite gold from grief. (Wilde, 2009)&lt;br /&gt;
   亚吉能 听说她的头发因为伤心变色像黄金。(余光中, 1998)&lt;br /&gt;
Algernon is talking about Lady Bracknell’s friend Lady Harbury, who becomes twenty years younger after her husband’s death. “It is commonly believed that a woman should feel grief after her husband’s death. We guess that her hair may turn grey out of sorrow. While it turned out that she changed it gold just to be younger” (Wu Shanshan, 2012). Wilde did well in employing paradox and irony to satirize the upper class. He is also keen on word game. “Gold from grieve” actually comes from “grey from grief”. Wilde’s alteration not only preserves the alliteration, but also achieves an ironic effect.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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&lt;br /&gt;
In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.&lt;br /&gt;
&lt;br /&gt;
In order to reproduce the formal beauty of the source language, Yu Guangzhong changed the alliteration into assonance and rendered it into “伤心变色像黄金”. In Chinese, “金(jin)” and “心(xin)” have the same sound “in”. “He employed rhetorical devices in Chinese to replace alliteration” (Yang Wenqian, 2014).. It not only expressed the same meaning as the source language, but also added the beauty of language in form, with Chinese characteristics. In the meaning level, Yu’s version preserved the original connotation, and in the form level, he employed rhetorical devices in Chinese to replace alliteration, which coincided with “functional equivalence”.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
 (2)CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
    蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack.Here, “bitter” and “blessings” employed alliteration devices. &lt;br /&gt;
&lt;br /&gt;
(2) CHASUBLE. I would merely beg you not to be much bowed down by grief. What seem to us bitter trials are often blessings in disguise. (Wilde, 2009)&lt;br /&gt;
   蔡牧师 只劝你不要过分哀伤。有些事看来像大祸临头，往往焉知非福。(余光中, 1986)&lt;br /&gt;
In example 2, Jack pretended that he had a wicked brother whose name is Ernest. And Ernest often needed his assistance so that he had an excuse to disappear for several days. Discovering that his ward Cecily was too interested in Ernest, he decided to “kill” his brother by saying that he caught a severe chill. Then Jack told Chasuble that his brother Ernest died in Paris. Chasuble intended to console Jack by saying “What seem to us biter trials are often blessings in disguise”. (Wu Shanshan, 2012) Therefore, from Chasuble’s point of view, his death may be a shake off for Jack. Here, “bitter” and “blessings” employed alliteration devices.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can benefit from them in the future. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers. &lt;br /&gt;
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Yu Guangzhong translated it as “塞翁失马，焉知非福”, a Chinese saying. It means that although we have suffered losses for a while, we can still benefit from them. “It also tells us that bad things can become good things under certain conditions, and vice versa” (Wu Shanshan, 2012). He translated alliteration in English into a Chinese saying. The meaning the Chinese saying expressed in the Yu Guangzhong’ s version was the same as the original, and the ironic effect was achieved by using a more acceptable way for Chinese readers.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).&lt;br /&gt;
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An old saying is more persuasive in this situation. We learnt from Yu’s version that if there is a saying in the source language, we can find a saying which expresses the same meaning in the target language, making it achieve “functional equivalence” (Yang Wenqian, 2014).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:38, 17 December 2020 (UTC)Yang Chenting &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
======Paradox======&lt;br /&gt;
 (3)LADY BRACKNELL. I'm sorry if we are a little late, Algernon, but I was obliged to call on dear Lady Harbury. I hadn't been there since her poor &lt;br /&gt;
    husband's death. 1 never saw a woman so altered; she looks quite twenty years younger. (Wilde, 2009)&lt;br /&gt;
巴夫人真抱歉我们来晚了一点，阿吉，可是我不能不去探望哈夫人。自从她死了可怜的丈夫，我一直还没有去过她家呢。从没见过一个女人变得这么厉害:看起来她足足年轻了二十岁。(余光中, 1986)&lt;br /&gt;
Paradox is a device much favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers or audience would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed.Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012). &lt;br /&gt;
&lt;br /&gt;
Paradox is a device favored by satirists. The benefit lies in the fact that even though it seems to be contradictory on the surface, it contains a certain grain of truth. With the use of paradoxes, Wilde showed us a clear picture of characters’ thoughts and the bourgeois society of Victorian era. Lady Harbury lost her husband. As common sense, the readers would think she may become old, while she says “she looks quite twenty years younger”. In this sentence, paradox was employed. Upon hearing that, the readers and audience will feel they are deceived by the speaker and become amused by the paradox (Wu Shanshan, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
After thinking it over, they will realize the beauty of the language. “Yu Guangzhong described the shocking facts in a flat tone to deepen the ironic effect” (Yang Wenqian, 2014). He successfully transferred the paradoxical meaning from the source text to the target language. Actually, he not only translated the original meaning, but also expressed the original meaning with an extremely same tone, an ironic tone.&lt;br /&gt;
&lt;br /&gt;
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 (4)ALGERNON. Do you really keep a diary? I'd give anything to look at it. May I?&lt;br /&gt;
    CECILY. Oh no. [Puts her hand over it] You see, it is simply a very young girl’s record of her own thoughts and impressions and consequently meant for &lt;br /&gt;
 publication. (Wilde, 2009)&lt;br /&gt;
亚吉能 你真的记日记吗?我真恨不得能看一看，可以吗?&lt;br /&gt;
西西丽 哦不可以。(手按日记)你知道，里面记录的不过是一个很年轻的女孩子私下的感想和印象，所以呢，是准备出版的。(余光中, 1986)&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect.In example 4, what amused the audience was that the conclusion was contrary to the reasons. &lt;br /&gt;
&lt;br /&gt;
In this example, since the diary is a record of Cecily’s own thoughts and impressions, she does not allow Algernon to read. &amp;quot;The readers or the audience may think Cecily will keep it as a personal privacy and prevent others from reading. However, Cecily says the diary is meant for publication&amp;quot; (Wu Shanshan, 2012). This contradictory statement is illogical and unreasonable, thus produces a humorous effect. In example 4, what amused the audience was the conclusion contrary to the reasons.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With this conjunction, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the reader or audience will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong added a Chinese conjunction “所以”. With it, the ironic effect deepened. If the translator transforms the illogical content into a coherent form that sounds reasonable, the paradoxical meaning in the original drama text will disappear, and the readers will not be attracted by this line. This version remained the ironic effect of the source text. (Wu Shanshan, 2012)--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:44, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
======Antithesis======&lt;br /&gt;
&lt;br /&gt;
 (5)ALGERNON. You don’t seem to realize, that in married life three is company and two is none. (Wilde, 2009)&lt;br /&gt;
    亚吉能 阁下似乎不明白， 婚后的日子，三个人才热闹，两个人太单调。(余光中, 1986)&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators.Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty.Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure. &lt;br /&gt;
&lt;br /&gt;
&amp;quot;Antithesis is a figure of speech in which sharply contrasting ideas are juxtaposed in a paralleled phrase or grammatical structure&amp;quot;(Wu Shanshan, 2012). Wilde employed quite a few antitheses in The Importance of Being Earnest, making it a great challenge for translators. Algernon introduced Bunbury to Jack so that he could still pursue pleasure after marriage. He compared two kinds of states of marriage and expressed his own thoughts. In the sentence “three is company and two is none”, antithesis was employed with rhythmic beauty. Yu Guangzhong noticed this musical beauty of the source language, and rendered it into corresponding paralleled structure.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).&lt;br /&gt;
&lt;br /&gt;
As a matter of fact, the target language seemed to be better than the source language. In Wilde’s language, only antithesis was used. While in Yu Guangzhong’s version, he reserved antithesis and added rhythmic words. “热闹” and “单调” are totally two different kinds of states, forming sharp contrast. Furthermore, “闹(nao)” and “调(diao)” have the same sound “ao”. Yu Guangzhong fully exploited the advantage of the target language and successfully transferred the beauty of the source language. He not only surpassed source language in form, but also preserved the soul (Shen Zhengrong, 2007).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
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 (6)MISS PRISM. You are too much alone, dear Dr. Chasuble. You should get married. A misanthrope I can understand—a womanthrope, never! (Wilde, 2009)&lt;br /&gt;
    劳 你太孤单了，蔡牧师。你应该结婚。一个人恨人类而要独善其身，我可以了解。一个人恨女人而要独抱其身，就完全莫名其妙。(余光中, 1986)&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.&lt;br /&gt;
&lt;br /&gt;
This is the conversation between Miss Prism and Dr. Chasuble. She suggested that he should get married, and she compared the two reasons of not getting married. (Wen Tong, 2012). Wilde employed the rhetorical device of antithesis, and Yu Guangzhong remained it in the target language. “Womanthrope” comes from the word “misanthrope”, referring to people who hate women. In Yu Guangzhong’s version, he translated two words into two sentences, “恨人类而要独善其身” and “恨女人而要独抱其身”. He explained two kinds of situations to the audience in detail with the same form as original works, making it almost perfect in form and content.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:46, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
====Suggestions on Translation from Yu Guangzhong’s Version====&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is most popular among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.&lt;br /&gt;
&lt;br /&gt;
Through the analyses of Yu Guangzhong’s version, we may have a deeper understanding of “functional equivalence”. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Even Yu Guangzhong’s version, which is the most popular one among the audience and readers, has many imperfections. Through the research, we can get some suggestions to help the later translators to create more excellent works.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is that a variety of rhetorical devices are used. In the process of translation, Yu Guangzhong grasped this point well. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).&lt;br /&gt;
&lt;br /&gt;
The first translation strategy of is to keep the form of the target language in line with the original to the greatest extent. The reason why it becomes the most successful play of Wilde is the variety of rhetorical devices. In the process of translation, Yu Guangzhong grasped this point. In translation of the drama title or characters’ names, he preserved the irony of the original work, turning puns in English into puns in Chinese, and long foreign names into meaningful short Chinese names. It not only preserves the satire of the original, but also inherits the language flavor of the original (Wen Tong, 2012).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly, but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning of the proverb. The beauty of the original will be destroyed, as well. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016). &lt;br /&gt;
&lt;br /&gt;
The second translation strategy is that the form can be changed properly but the meaning and satirical effect cannot be reduced. Due to the differences between Chinese and Western cultures, there are many Western proverbs which are inexplicable to Chinese readers. If they are translated literally, the reader will fail to understand the exact meaning. The beauty of the original will be destroyed, too. But if the proverbs are explained carefully, it will inevitably take up a lot of sentences to explain the literal and metaphorical meaning of the proverbs (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and it added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).&lt;br /&gt;
&lt;br /&gt;
For drama translation, it is not advisable to do so. Yu Guangzhong chose Chinese proverbs that can express the same meaning to replace the English ones, without changing the author’s original meaning, and added a sense of amiability to Chinese readers. In this part, the author analyzes Yu Guangzhong’s translation strategies from the prospective of functional equivalence. In Yu Guangzhong’s version, both the form and the content of original work have been preserved. We also gained some enlightenments from his translation, which benefits our further translation practice (Wang Chao, 2016).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:50, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we had a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments in translation. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”.In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019). &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The thesis, under the guidance of “functional equivalence”, analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from three aspects, translation of drama title, characters’ names and dialogues. Through this study, we can have a clear understanding of functional equivalence. By appreciating the vividness of Yu Guangzhong’s version, we get some enlightenments. From the above discussion, we think that translators can learn from Yu Guangzhong in order to achieve “functional equivalence”. In translation, we should take readers’ thought into consideration first. To make the translated version like the original work, Yu Guangzhong provided us with some strategies (Chen Yaoyao, 2019).--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed, but the meaning and satirical effect cannot be reduced. With these strategies, we can produce more fantastic translation.Even though we gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.&lt;br /&gt;
&lt;br /&gt;
One is to keep the target language in line with the original to the greatest extent. The other is that form can be changed but the meaning and satirical effect cannot be reduced. With these strategies, we can produce better translation. Even though we can gain experience from this study, it has limitations. “Drama is a type of literature written to be performed” (Shi Tiantian, 2014). So, there are many details to be considered. Although Yu’s version is popular, it has unavoidable shortcomings. This thesis only focused on excellent examples of translation. To sum up, Yu’s version provided us with some successful suggestions to achieve functional equivalence, but only part of it did it.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 11:53, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Feifei陈菲菲. (2011). 目的论与余光中《不可儿戏》的翻译策略[Skopos Theory and Yu Kwang-chung’s Translation Strategy on The Importance of Being Earnest J].''宁波广播电视大学学报'' Journal of Ningbo Radio and Television University (04) 43-46.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶. (2019). ''余光中戏剧翻译研究''[A study of Yu Guangzhong's drama translation]. Taiyuan: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida &amp;amp;Charles R. Taber. (1969). ''The Theory and Practice of Translation''. Leiden: Brill.&lt;br /&gt;
&lt;br /&gt;
Guo Jianzhong郭建中. (2000). ''文化与翻译'' [Culture and Translation]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liang Wei梁薇. (2009). 从翻译目的论视角出发研究The Importance of Being Earnest两个译本[Two versions of The importance of Being Earnest From the perspective of Skopos theory]. Anhui: Language and words''语言文字'' (09) 258.&lt;br /&gt;
&lt;br /&gt;
Li Xin李欣. (2010). 余光中戏剧翻译实践研究——以《不可儿戏》为例[Yu Kuang-chung's Drama Translation Practice: A Case Study of The Importance of Being Earnest]. ''淮海工学院学报'' Journal of Huaihai Institute of Technology (04) 96-98.&lt;br /&gt;
&lt;br /&gt;
Richard, F. (1956). ''Wilde as Parodist: A Second Look at the Importance of Being Earnest. College English'' (1) 18-23.&lt;br /&gt;
&lt;br /&gt;
Shen Zhengrong谌峥嵘. (2007). 《不可儿戏》两中译本比较[A Comparative Study of The Two Chinese Versions of The Importance of Being Earnest ]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Shi Qiulei施秋蕾. (2012). 文化转向视角下的翻译策略研究——以王尔德The Importance of Being Earnest两中译本为例[Translation Strategies from the Perspective of Cultural Turn: A Comparison of Two Chinese Versions of The Importance of Being Earnest].''常熟理工学院学报'' (03) 96-100.&lt;br /&gt;
&lt;br /&gt;
Tong Fangli童芳莉. (2006). 从归化与异化的角度评余光中译《不可儿戏》[Evaluation on Yu Guangzhong's Translation of The Importance of Being Earnest from Domestication and Foreignization].''台州学院报'' Journal of Taizhou College (02) 43-46.&lt;br /&gt;
&lt;br /&gt;
Wang Chao汪超. (2016). 余光中翻译思想与实践研究[A Study on Yu Guangzhong’s Translation Thought and Practice]. Changsha: Hunan Normal University湖南师范大学.&lt;br /&gt;
&lt;br /&gt;
Wen Tong 温彤. (2012). 美学视阈下的戏剧翻译审美主体研究——以王尔德的喜剧中译为例[On the Aesthetic Subject of Drama Translation from the Perspective of Aesthetics——Take Oscar Wilde's Chinese Translation of Comedies as an Example].''时代文学''Period literature (03) 220-221.&lt;br /&gt;
&lt;br /&gt;
Wilde, O. (2009). The Importance of Being Earnest. Claremont: Broadview Press.&lt;br /&gt;
&lt;br /&gt;
Wu Jie吴洁. (2014). “语言游戏说”视角下的王尔德作品研究[A Research on Oscar Wilde’s Major Works from the Perspective of &amp;quot;Language Games”]. Shanghai: Shanghai International Studies University 上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Wu Shanshan吴姗珊. (2012). 从目的论视角比较研究The Importance of Being Earnest的三个中译本[A Comparative Study of The Three Chinese Versions of The Importance of Being Earnest from the Perspective of Skopos Theory]. Chengdu: Sichuan Normal University四川师范大学.&lt;br /&gt;
&lt;br /&gt;
Yang Wenqian杨文茜. (2014). 以舞台呈现为目的:王尔德戏剧The Importance of Being Earnest两个中译本的比较[Translating Drama for Theatrical Performance: A Comparative Study of Two Chinese Translations of Oscar Wilde’s The Importance of Being Earnest ]. Wuhan: Huazhong Normal University华中师范大学.&lt;br /&gt;
&lt;br /&gt;
Yin LIjing殷莉菁. (2012). 王尔德戏剧《不可儿戏》中双关语汉译研究[A Study of Pun Translation of The Importance of Being Earnest by Oscar WIlde]. Hangzhou : Zhejiang Gongshang University浙江工商大学.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (1986).''不可儿戏'' [The Importance of Being Earnest]. Beijing: China Friendship Publishing Company中国友谊出版公司.&lt;br /&gt;
&lt;br /&gt;
Yu Guangzhong余光中. (2004). ''余光中谈翻译''[On Translation by Yu Guangzhong]. Beijing: China National Translation and Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
==Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen 202020080603==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the development of economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
With the development of economic globalization,exchanges between countries have become more and more frequent and areas of cooperation have been continued to expand.The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and also in guiding interpreting practice. Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:58, 16 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
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===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
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===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
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===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
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===1.1 Introduction of Interpretive Theory===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. &lt;br /&gt;
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The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.(Kong Shaohui 2019, 127)&lt;br /&gt;
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The theory of this school is directly derived from the practice of interpretation and has an unique inspiration for the study of translation.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.(Kong Shaohui 2009, 127)&lt;br /&gt;
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The first is the implied meaning(implictit), which means that the speaker actually wants to experess the meaning: the second is explicit, which the speaker actually says content.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. &lt;br /&gt;
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Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
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The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can&lt;br /&gt;
understand:The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic 1979, 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
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understanding: the first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and though contend to be expressed, this stage is called interpretation of discourse. --[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
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The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
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The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
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In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.(Zhang Si 2019, 275-277)&lt;br /&gt;
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===1.2 Introduction of Interpretation===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
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There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). (Ouyang Changyi 2010)&lt;br /&gt;
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Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.(Lou Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
&lt;br /&gt;
===2.1 The Research on Interpretive Theory===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. &lt;br /&gt;
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At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
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Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
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It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
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===2.2 The Research on Interpretation under the Guide of Interpretive Theory===&lt;br /&gt;
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Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
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With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
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On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
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===3.Translation Strategies based on Interpretive Theory===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
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Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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===3.1 Free Translation===&lt;br /&gt;
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The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
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===3.2 Addition of Message===&lt;br /&gt;
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Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.(Liu Yue, Lan Jie 2020, 179-180)&lt;br /&gt;
例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
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===3.3 Positive and Negative Translation===&lt;br /&gt;
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As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers.(Liu Yue, Lan Jie 2020, 179-180) The following are some typical examples:&lt;br /&gt;
例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
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The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. &lt;br /&gt;
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Translators should use translation strategies flexibly.The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.(Xiong Wen 2014, 154-155)&lt;br /&gt;
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The interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter.(Zhang Yang, Li Lingzhe 2018, 334-336)&lt;br /&gt;
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The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation, so it will Weaken the practical value of the theory and affected its further dissemination and development.(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;(Lederer 2001, 45-50)&lt;br /&gt;
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In this era of international interpreting research talents, the brilliance of the interpretive theory has become the past.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-211.&lt;br /&gt;
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* Mao Yueyue, Liu Fan. 毛新月, 刘帆. (2018). 释意理论指导下的会议口译中四字词语的翻译——以习近平总书记十九届中共中央政治局常委同中外记者见面会讲话为例. [Translation of four-letter words in conference interpretation under the guidance of interpretation theory - taking the speech of General Secretary Xi Jinping at the meeting between the Standing Committee of the Political Bureau of the 19th CPC Central Committee and Chinese and foreign journalists as an example]. ''北方文学'' [Northern Literature](12): 230-231.&lt;br /&gt;
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* Ouyang Changyi. 欧阳长怡. (2010). 论释意理论指导下的记者招待会口译策略及释意训练. [On Interpretation Strategies and Interpretation Training of Press Conference under the Guidance of Interpretation Theory]. 福建省外国语文学会.福建省外国语文学会2010年年会论文集. [Fujian Foreign Language Society. Proceedings of the 2010 Annual Conference of Fujian Foreign Language Society]. 福建省外国语文学会: 福建省外国语文学会[Fujian Foreign Language Society: Fujian Foreign Language Society]&lt;br /&gt;
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* Xiong Wen. 熊雯. (2014). 释意理论视阙下的口译过程研究. [A study of interpretation process under the view of interpretation theory]. ''海外英语'' [Overseas English](24): 154-155.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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*Zhang Yang, Li Lingzhe. 张杨,李灵哲. (2018). 释意理论指导下的翻译语义策略运用. [The use of translation semantic strategies under the guidance of interpretation theory]. ''佳木斯职业学院学报'' [Journal of Jiamusi Vocational College](10): 334-336.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures  陈佳欣	Chen Jiaxin 202020080593==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The translation of Buddhist scriptures has lasted for more than a thousand years in China, which is taken as the first Chinese translation climax. The translation of Buddhist scriptures in China can be divided into three historical stages: the first historical period, from the late Eastern Han to the Western Jin Dynasty, the pioneering stage; the second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, the stage of development; the third historical periods, the Tang Dynasty which reached its peak. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation. The article will review the development of translation in Chinese Buddhist scripture and analyze literal translation and free translation of each stages through analyzing the famous translators, translation theories and translation characteristics of the three stages. In addition, this article will study the influence of Buddhist scripture translation on Chinese language and literature.&lt;br /&gt;
The “article” would better to be “paper”  The “problem” would better to be “ disputation” or “controversy”--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 09:45, 19 December 2020 (UTC)&lt;br /&gt;
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===Keywords ===&lt;br /&gt;
Buddhist scriptures, Translation, Literal translation, Free translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
佛经翻译在中国持续了一千多年, 我国的第一个翻译高潮就是佛经翻译。中国的佛经翻译大致分为三个历史阶段：第一个历史时期，从东汉末到西晋，为草创阶段； 第二个历史时期，从东晋时期到隋朝，是发展阶段；第三个历史时期，唐代达到全盛阶段。意译和直译的问题贯穿佛经翻译的始终, 大致发展过程为:初期的大略主直译——发展时期的直译意译相争——全盛时期的直译意译达到和谐。文章将通过研究这三个阶段的著名译者，翻译理论和翻译特点来梳理佛经翻译的发展，并分析每个时期佛经翻译中直译意译的发展。&lt;br /&gt;
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===关键词===&lt;br /&gt;
佛经，翻译，直译，意译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Chinese translation has a long history of three thousand years, and the earliest translation can be traced back to the Shang and Zhou dynasties. But scholars generally take the translation of Buddhist scriptures in the Eastern Han Dynasty as the beginning of the translation history of China. Buddhism, religion and philosophy founded in India by Siddhartha Gautama, was unknown to other countries for a long time. About the first century AD Buddhism entered China along trade routes from Central Asia. Thus, the translation of Buddhist scriptures came into being. Buddhism was widely developed in China and became one of the most important religions in China for more than two thousands of years with great impacts on Chinese culture and civilization. The translation of Buddhist scriptures is mainly supported by two groups of people: the foreign monks who came to China to preach; the Chinese monks who go west to seek sutras. “The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years”(Meng Yue 2017, 305). And it has great influence on Chnese society, culture, language, arts etc. The translation of Buddhist scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones.&lt;br /&gt;
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During the whole history of the translation of Buddhist scriptures, literal translation and free translation have always been one of the hottest topic. Literal translation of Buddhist scriptures refers to the rendering of text from Sanskrit into Chinese at a time or without conveying the sense of the original Buddhist scriptures. It emphasizes the form similarity and requires the accordance between the Sanskrit and Chinese in the choices of word, syntax and styles. Free translation of Buddhist means to mainly convey the meaning and spirit of the original Buddhist scriptures, which does not adhere strictly to the form or word order of the original. The problems of free translation and literal translation run through the whole development of the translation of Buddhist scriptures. “The general process is: literal translation is mainly employed at the beginning; literal translation and free translation are competed at the development stage; the two reached harmony at the peak of Buddhist translation” (Sun Shanshan 2014, 174).&lt;br /&gt;
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In the present paper, I shall discuss the development of translation in Chinese Buddhist scriptures from three period. The first period is from the late Eastern Han to the Western Jin Dynasty. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. Among them An Shigao and Zhi Chen advocate literal translation, while Zhi Qian supports free translation. The second period from the Eastern Jin Dynasty period to the Sui Dynasty. The representative translators during this period are Shi Daoan and Kumarajiva. Shi Daoan proposed that translation should be carried out literally and raised the theory of “five losses and three difficulties”. Kumarajiva opposed to precise literal rendering and argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers. The third period is the Tang Dynasty, and the representative translator in this age is Xuan Zang. Xuan Zang held that translation “must be truthful and intelligible to the populace”.&lt;br /&gt;
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=== The late Eastern Han to the Western Jin Dynasty ——Mainly Literal Translation ===&lt;br /&gt;
The development of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty. With the success of the Silk Road, Buddhism was introduced to China. At the beginning, it was not widely accepted by Chinese society due to language barrier. Therefore, it is of great necessity to translate Buddhist scriptures into Chinese, so that it can be read, comprehended and accepted by Chinese people. The representative translators during this period are An Shigao, Zhi Chen and Zhi Qian. The first two were the masters of the literal translation school.&lt;br /&gt;
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==== An Shigao ====&lt;br /&gt;
An Shigao lived from 148-180 CE. According to legend, he was a prince of Parthia (modern Iran). He gave up being a prince to become a Buddhist missionary monk in China. Soon after he arrived China, he quickly possessed a good knowledge of Chinese and started to translate Buddhist Scriptures into Chinese. He totally translated 35 Buddhist Scriptures, of which main content was the basic doctrines and method of cultivation of Theravada Buddhism. Compared to other contemporaneous translators, “An Shigao’s translation can more accurately convey the original meaning of the text. His translation is clear and appropriate. Generally speaking, he was the earliest representative of literal translator in China. His translation is mainly literal and respects the structure of the original text” ( Fang Yang 2013, 6). However, as An Shigao was the earliest group of Buddhist scripture translators, “there is no precedents to follow, some terms in the translation are not easy to understand, and the structure of some original sentence are different from that of Chinese, therefore there are some repetitions and inversions in his translation” (Yang Chaobiao 2012, 78).&lt;br /&gt;
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==== Zhi Chen ====&lt;br /&gt;
Zhi Chen, entering China at about 167 CE, was the first monk who introduced Mahāyāna Buddhism to China. He was proficient in Chinese and translated a large number of Buddhist scriptures. Most of them are about Mahayana Buddhism. With the translation of An Shigao as reference, Zhi Chen accumulated a certain amount of experience in wording and phrasing, so his translation can be relatively fluent and preserve the original meaning as much as possible. Besides, “transliteration are often employed in his translation”(Zhang Yuwei 2019, 115). Therefore he was also regarded as one of the representatives of literal translators. However, due to the limitation of the time, Zhi Chen, just as same as An Shigao and other comtemporay translators, his translation about some terms are obscure and unclear. &lt;br /&gt;
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==== Zhi Qian ====&lt;br /&gt;
Zhi Qian, also known as Zhi Yue, is a Buddhist scripture translator during the Three Kingdoms period. He is the author of The Dhammapada Sequence, which is said to be the first essay on translation in China. He opposed to the previous translation which focuses on the literal meaning of the text while ignore the elegance of translation. He argued that translation should be easy to understand and the language should be smooth. Zhiqian was the first person in ancient China to systematize and theorize translation. “Zhi Qian’s preface is the first work whose purpose is express an opinion about translation practice”(Ma Zhuyi 1988). He broke the routine of literal translation, pursued the elegance of words, and advocated both free translation and Literal translation, which played a very important role in the improvement of the later translation of the Buddhist scriptures.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translation of Buddhist scriptures were mostly completed by foreign monks. During this period, Buddhism has just been introduced to China, for this reason there are very few native monks who really know Buddhist scriptures. In the other hand, in order to propagate Buddhism, these foreign monks had to take on translating Buddhist scriptures in the early days. &lt;br /&gt;
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(2)The mainstream translation principle was faithfulness at that time. On the one hand, the translators are almost devout religious believers. “Religious scriptures seem to be the sacred “ will of God ”, which is unalterable. Any amplification, deletion or modification in the translation process of religious scriptures can be seen as a blasphemy against God” (Xiong Hui 2013, 67). Therefore, translators mainly adopted the translation method of literal translation, which demonstrates the sincere religious beliefs of translators and preserves the sanctity of religious scriptures. On the other hand, in the early days of Buddhism, foreign monks were not proficient in Chinese, and Chinese monks were not proficient in Sanskrit. Early translators lack bilingual ability and translation experience, therefore then can only translate word for word. Besides, since there is no previous translation to refer to, some Buddhist terms do not have an authoritative and fixed explanation, and some expressions cannot be found its counterpart in Chinese, therefore they can only be translated literally. Literal translation was highly proposed by An Shigao and Zhi Chen. Until the Three Kingdoms period, Zhi Qian pursued the elegance of words, which broke the routine of literal translation.&lt;br /&gt;
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(3)Taoist language is often used in translation. “When Buddhism was firstly introduced to China, Taoism, as the native religion of China, was in its prevalence. As a foreign religion, Buddhism have to be attached to Taoism to facilitate the spread the new doctrine in China” (Meng Yue 2017, 306). Therefore, a large number of Buddhist concepts were interpreted by analogy with indigenous ideas, such as Taoist.&lt;br /&gt;
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=== the Eastern Jin Dynasty period to the Sui Dynasty—Transition from literal translation to free translation ===&lt;br /&gt;
The second historical period,from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development. At this period, Buddhism was gradually accepted by Chinese people. Buddhism believer is not limited to the royal family and nobleman, but also includes common people. The representative translators during this period are Shi Daoan and Kumarajiva.&lt;br /&gt;
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====Shi Daoan ====&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk. In addition to his efforts for developing a disciplinary code for Chinese monastic communities, he is also known for his translation and commentaries on the scriptures. Shi Daoan proposed that translation should be carried out literally without any amplification or omission, advocating “translation according to the original features”. However, Shi didn’t stick to the literal translation that strictly. He raised the theory of “five losses and three difficulties”. &lt;br /&gt;
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“‘Five Losses of Source Texts’ discusses the problems of word order, work or essence, detail or simplification.As for the word order of the First Loss of Source Texts, Daoan clearly advocates the inversion.As for the Second Loss of Source Texts, Daoan proposes to choose work or essence translation according to readers' level and different styles and advocates taking advantages of two schools in order to translate Chinese Buddhist Scriptures better. As for the simplication or detail of the Third, Fourth and Fifth Loss of Source Texts, Daoan thinks the trivial, repeated eulogy, ode and conclusion words should be deleted generally except for the translation of Buddhist discipline.&amp;quot;Three Difficulties in Translation&amp;quot; discusses the factors of times, readers and translators that Buddhist Scripture translation faces.It is these three factors that result in the difficulties of translating Chinese Buddhist Scriptures”(Fang Ruifen 2012, 385). “Five losses” means to allow the translation to be different from the original in grammar, rhetoric and structure, so as to conform to the language habits of Chinese people. “Three difficulties” requires that translators should be able to strike a balance betwen styles, intelligence, and time.&lt;br /&gt;
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The main contribution of Dao’an to the translation of Buddhist scriptures is the creation and organization of translation workshop. Before Dao’an, the translation were usually finished by private. He set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. From then on, translation has become an organized activity.&lt;br /&gt;
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==== Kumarajiva ====&lt;br /&gt;
Another representative translator Kumarajiva, who has enjoyed a high reputation in the long history of the Buddhist sutras translation，was well - renowned and was called as &amp;quot; the first class master of translation&amp;quot; by Liang Qichao. He advocated free translation and getting rid of the shortcomings of transliteration. He is one of the four great translators of ancient China, one of the three great translators of Buddhist scriptures, who translates 39 volumes. He is proficient in both Chinese and Sanskrit languages, and advocates that as long as the translation does not violate the original meaning, there is no need to follow the original form. “Kumarajiva revolutionized Chinese Buddhism, in clarity and overcoming the previous &amp;quot;geyi&amp;quot; (concept-matching) system of translation through use of Daoist and Confucian terms”(Nattier 1992,  186). He argued that “geyi” is the culprit of the deformation of India Buddhism after it was introduced into China. “He completely abandoned interpreting Buddhist concept by using Daoist and Confucian terms, and has worked hard to create Buddhist terms, so that the translation is more faithful to the original” (Ma Zhuyi 1982, 25). &lt;br /&gt;
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Kumarajiva opposed to precise literal rendering, because he held that Sanskrit and Chinese are two quite different language. “In the original there is attention to aesthetics, but the sense of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people”(Ma Zhuyi 1988). He argued that the translation of Buddhist scriptures should be concise and elegant and meet the language habits of Chinese readers, so that Buddhists can better understand and accept the translated scriptures. He tried to use concise text that conformed to Chinese expression habits, while retaining the exotic taste so that readers could understand and accept easily. Kumarajiva did not stick to the form of the original, and often delete the repetitive content. Therefore, his translation style was distinctive, possessing a flowing smoothness. Another remarkable achievement is his contribution to the translation workshop. After he arrived Chang'an, he began to organize translation workshops. Under his efforts, the number of translators increased greatly, and the division of labor was detailed.The entire translation process includes interpretation, recording, correcting and proofreading. After group discussion, the quality of translation has been greatly improved. In addition, in order to be responsible for the Buddhist scriptures translated, Kumarajiva was the first translator to propose that the translator should signature over his translation in the Chinese history.&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1)From folk and personal translation to official and collective translation. At the beginning, the translation of Buddhist scriptures was a private activity. Generally a foreign monk recited the Buddhist scriptures and brought it to China. Then the translator interpreted the scriptures into Chinese, and another person recorded it. That’s the whole process of the translation of Buddhist scriptures at the early days. During the Eastern Jin Dynasty period to the Sui Dynasty, translation workshop was organized. Famous translators such as Shi Daoan and Kumarajiva both had presided over translation workshop. From then on, individual translation behavior gradually developed into a collective translation activity. During this period, with the support of the government, the number of translators has greatly increased, and the division of labor has become more detailed. Therefore, the quality of translation has also been greatly improved. “In addition, the function of translation workshop is not limited to translate Buddhist scriptures, but also give lectures and hold debates. Many translators who preside over the translation field not only translate, but also give lectures about Buddhism” ( Fang Yang 2013, 14).&lt;br /&gt;
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(2)From adopting the source text version of the Northern barbarian tribes in ancient China to that of Sanskrit. Before the Eastern Jin Dynasty, the version of Hun (Chinese northern nomads）are usually taken as the original text by translators. Afterwards, the Sanskrit texts were introduced to the China，translators can take them as the original text. The accuracy of the translation was improved greatly. On the other hand, since there are more Sanskrit texts, they have more options of the type of scripture to be translated. Also the systemic nature of the translation has also increased.&lt;br /&gt;
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(3)Breakthroughs in translation theories and skills. During this period, many famous translators have put forward their opinions on translation theory. Based on his translation practice, Shi Daoan raised the theory of “five losses and three difficulties”. Kumarajiva advocated free translation. He is the first one to raise the question of how to express the stylistic and linguistic interest of the original text, which had a great influence on translation history. From the Eastern Jin Dynasty to the end of the Sui Dynasty, there were many famous translators who put forward different translation theories and opinions, which had a greater impact on the practice of translation.&lt;br /&gt;
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(4)A tool for class oppression. The rulers from the Eastern Jin Dynasty to the Sui Dynasty took Buddhism as a tool of class oppression. In the South of China, the society is stable, so the noble class of South China was arrogant and lavish, metaphysics was prevailed among them. Therefore Buddhism and metaphysics were combined, and rulers interpret Buddhist theories from the perspective of metaphysics. The translation of Buddhist scriptures was also influenced by this prevailing ethos. However, the Northern Dynasty advocated Confucianism. Due to frequent wars and limited economic development, the rulers of Northern China turned to Buddhism and took Zen as their guide. Therefore Buddhism naturally combined with Confucianism, and Zen became the mainstream of Buddhism in the Northern Dynasty. The translation of Zen classics meets the needs of the ruling class and Buddhists in the Northern Dynasty. “Buddhism, as a tool for the government to consolidate their reign, has been stained with a strong political color”(Wang Yan 2012, 158).&lt;br /&gt;
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=== Tang Dynasty ===&lt;br /&gt;
The third historical period is the Tang Dynasty. During this period, Buddhism developed vigorously.  In order to consolidate their regime, the emperor of Tang Dynasty also valued Buddhism very much, to domesticate his people together with the help of Chinese traditional ritual. Therefore the ruling class attached great importance to the translation of Buddhist scriptures. The Chinese translation of Buddhist scriptures reached its peak. And the representative translator in this age is Xuan Zang. Xuan Zang tried many translation methods and developed his epoch-marking criterion that “translation ‘must be truthful and intelligible to the populace’”（Ma Zhuyi 1980, 18). In a sense, Xuan Zang, with such a formula, was trying to have the best of two worlds—literal translation and free translation.&lt;br /&gt;
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==== Xuang Zang ====&lt;br /&gt;
Xuanzang (600-664), a famous monk in the Tang Dynasty, is commonly known as the &amp;quot; Sanzang Rabbi.&amp;quot; On the third year of Zhenguan of Tang Emperor Taizong, he left for Dunhuang from Chang'an, and then arrived in India. He returned to Chang'an in the nineteenth year, and traveled for seventeen years. Through hard work, he brought back more than 650 Sanskrit verses, the number and variety are both unprecedented. He presided over the translation work of seventy-five parts, 1,335 volumes, accounting for more than half of the total number of new Buddhist scriptures in the Tang Dynasty. “Therefore, he was called by the Indian scholar Bai Letian as ‘No.1 translator in the history of translation’”（Ma Zhuyi 1980, 18).&lt;br /&gt;
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In the process of translating the scriptures, Xuanzang proposed the principle of “Five Untranslatable Situations”: First, with secret. The words with mystery are not translated, as there are many spells in the Buddhist scriptures. For example, if the &amp;quot;Doroni&amp;quot; is translated, it will lose its special meaning, so it will lose its magic. Second, with multiple meaning. The ambiguous Sanskrit will not be translated. For example, the word &amp;quot;bhaga&amp;quot; has six meanings( comfortable, flourishing, dignity, name, lucky, esteemed), so the original text is reserved for transliteration. Third, with no counterpart in China. the concept of things which are not found in the original culture of translation will not be translated. For example, the &amp;quot;jumbu tree&amp;quot; in Buddhism is a tree unique to India, which does not grow in China, therefore using transliteration. Fourth, with the ancients. the customary words should follow the habit of transliteration. If the ancients have translated some Buddhist special words, such as &amp;quot;Aunt Bodhi&amp;quot;, although they can be translated, cause confusion. It is best to use the ancient translation rather than a new translation. Fifth, with Good fortune. “The word in the original Sanskrit language can also be found in Chinese with a similar meaning, but they are not strictly same as having many differences in connotation. Such word can not be translated”( He Zizhang 2008, 66). Such as &amp;quot;prajna&amp;quot; respect, &amp;quot;wisdom&amp;quot; is light and shallow. “The word &amp;quot;Untranslatable&amp;quot; here does not mean not translating, but rather &amp;quot;not intended to translate&amp;quot;, using transliteration”( Jian Xue 2018, 28).&lt;br /&gt;
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==== The Characteristics of This Period ====&lt;br /&gt;
(1) The translators are mainly domestic monks. With the strong support of the rulers of Tang Dynasty, the Chinese translators had the opportunity to go to India and other countries to learn Sanskrit and Buddhism. Through long-term study, these translators were not only proficient in Sanskrit but also has a deep understanding of Buddhism. “Besides, in order to meet the needs of translation, Yijing wrote the Sanskrit textbook which means that translators have been able to learn Sanskrit in China” ( Fang Yang 2013, 14). The number of Chinese monks who are proficient in Sanskrit has gradually increased, and the translation work does not need to turn to foreign monks.&lt;br /&gt;
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(2) Fewer excerpts translation yet more complete translations. Due to the attention and support of the rulers, the translators have the access to the pilgrimage to India to find out more about Buddhist scripture. Besides, the improvement of the quality of translators and the perfection of the system of translation workshop also make such large translation programs possible.&lt;br /&gt;
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(3) Further improvement of the translation workshop system. Compared with the translation workshop of the previous stage, that of Tang Dynasty is more all-sided in organization. “According to records, The translation workshop of the Tang Dynasty has as many as 11 departments”( Xiu Wenqiao 2008, 32). Each part was under the charge of different people. The monks worked in the translation workshop are all knowledgeable and skilled in translation, and many of them are rabbis appointed by the court.&lt;br /&gt;
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(4) The peak of Buddhist scripture translation in Chinese history. Many outstanding translators emerged during this period, such as Xuanzang, Yijing and Bukong etc. The four major translators in the Chinese translation history of Buddhist scripture are Kumarajiva, Zhenti, Xuanzang, and Bukong. Two of them are from the Tang Dynasty.&lt;br /&gt;
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(5) The translation scripts are more faithful to original texts. Because Xuanzang and other translators traveled long distances to search for the Buddhist scriptures, they brought back many Sanskrit classics, which created better conditions for the monks to learn Sanskrit and the original Buddhist scriptures. Therefore they trained a large number of excellent translators, and greatly improved the quality of the translation. Xuan Zang advocated that that translation should be faithful to the original style. He believes that if the original language is elegant and the translation should also be elegant , but if the original style is simple, the translation should be the same.&lt;br /&gt;
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=== The Influence of the Translation of Buddhist Scriptures  ===&lt;br /&gt;
The translation of Buddhist scriptures has been developed in China for more than two thousands of years with great impacts on Chinese language and civilization. At the aspect of language, it has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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The influence of Buddhist scripture translation on Chinese is mainly manifested in phonology. The “Buddhist scriptures were originally written in Sanskrit and Central Asian languages, both of which belong to phonetic alphabet , while Chinese characters developed from hieroglyphs, and there was no such thing as alphabet at first”( Hou Lixiang 2016, 14). After Buddhism was introduced to China, some people began to use Sanskrit to assist in learning Chinese pronunciation. The principles and methods of Sanskrit phoneticization promote the development of Chinese phonology. Therefore, Buddhism can be said to have laid the foundation for the formation of Chinese pinyin.&lt;br /&gt;
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“In the process of translating Buddhist scriptures, the original Chinese vocabulary could not meet the needs of translation, therefore new Chinese words were created through transliteration and free translation”( Hou Lixiang 2016, 14). In the history of the translation of Buddhist scriptures, Zhi Chen advocated transliteration, and Xuanzang proposed the principle of “Five Untranslatable Situations”, which state five cases to use transliteration. Therefore the loanwords from Buddhism came into China, which greatly enriched Chinese vocabulary. “Through careful analysis, linguists have made a conclusion that about 35,000 words in Chinese come from Buddhist scripture”(Du Aixian 2000, 49). Some are directly related to Buddhism, such as “Buddha”, “monk”, “ Dharma&amp;quot;, &amp;quot;Sutra” etc; some are words that we don’t realize, such as &amp;quot;memory&amp;quot;, &amp;quot;world&amp;quot;, &amp;quot;now&amp;quot;, &amp;quot;causality&amp;quot;, &amp;quot;attachment&amp;quot;, &amp;quot;emptiness&amp;quot;, &amp;quot;reality&amp;quot; and so on. In addition, many four-character idioms remaining in modern Chinese have the color of Buddhism, and a large number of four-character idioms appeared after the Wei and Jin Dynasty. Such as “drop one's cleaver and become a Buddha”(放下屠刀, 立地成佛), “While the priest climbs a post, the devil climbs ten” (道高一尺, 魔高一丈 ).&lt;br /&gt;
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The translation of Buddhist scriptures has been considered the main element which led to the double-syllable tendency of Chinese words, and also made the patterns of word-formation more perfect. “According to the research, words in ancient times are mainly monosyllable, and the process of disyllabic Chinese was very slow before the Wei and Jin Dynasties, but since the translation of Buddhist scriptures became popular at that time, the double-syllable tendency of Chinese words greatly accelerated”(Sun Yan 2015, 120). Therefore, the translation of Buddhist scriptures are supposed to  be the main motive.&lt;br /&gt;
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In order to convey the thoughts of Buddhist scriptures more clearly, many terms need to be translated into colloquial language, which is difficult to express by the original Chinese monosyllabic words. The oralized trends of the translation of the Buddhist scriptures have imposed great impacts on various kinds of colloquial literature styles, and also highly related to the terasyllabic words in the colloquial novels.&lt;br /&gt;
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=== Conclusion ===&lt;br /&gt;
The Chinese translation of Buddhist scriptures has gone through three different historical periods. And different social conditions have also resulted in different strategies of sutra translation. At the end of the Eastern Han Dynasty, when Buddhism was first introduced to China, Taoism was dominant in the Chinese society and the translator was not proficient in both Sanskrit and Chinese. Therefore, literal translation, and transliteration were mainly employed during this period. During  Wei and Jin Dynasties, Buddhism developed to a certain extent. Most translators were proficient in Sanskrit and Chinese, which made free translation possible. And in order to spread Buddhism, Buddhists adopt free translation strategies to make Buddhist scriptures more acceptable. During the Sui and Tang dynasties, in order to consolidate their own regime, government strongly supported the translation of Buddhist scriptures. Literal translation and free translation were in harmony during this period, thus the translation of Buddhist scriptures reached its peak.&lt;br /&gt;
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The translation of Buddhist scriptures has been exerted great influences on Chinese language. It has promoted the development of Chinese phonology, expanded the Chinese vocabulary, enriched the way of Chinese word formation, accelerated the process of Chinese diphones, and promoted the colloquialization of Chinese.&lt;br /&gt;
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By reviewing the development process of Buddhist scripture translation, and summarizing the characteristics of each stage, we can have a clear understanding of Buddhism translation from a macro perspective. Through learning the main achievements and growth experience of important translators, we can learn more translation strategies and do better in our own translation practice.&lt;br /&gt;
The translation of Buddhist scriptures occupies an important position in the history of Chinese translation and has had a significant impact on Chinese language and culture. Therefore, it is necessary for us to go back to the source, review the development of Translation in Chinese Buddhist Scriptures, learn the main achievements of important translators, and further study the representative theory of Buddhist scripture translation&lt;br /&gt;
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=== References ===&lt;br /&gt;
Nattier, Jan. (1992).The Heart Sutra: A Chinese Apocryphal Text?. Journal of the International Association of Buddhist Studies (2) 153-223&lt;br /&gt;
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Meng Yue孟悦. (2017). 中国佛经翻译发展史综述[A Summary of the History of Chinese Sutra Translation].外语教育与翻译发展创新研究 Innovative Research on Foreign Language Education and Translation Development 305-308&lt;br /&gt;
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Sun Shanshan孙珊珊. (2014).从翻译批评的多重视角看佛经翻译的文质观[On the Wenzhi of Sutra Translation from the Multiple Perspectives of Translation Criticism].青年作家Young Writers (16)173-174.&lt;br /&gt;
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Fang Yang方阳. (2013). 东汉至唐代的佛经翻译研究[A Study of the Chinese Translation of Buddhist Scriptures from Eastern Han Dynasty to Tang Dynasty]. 河北大学 Hebei University &lt;br /&gt;
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Yang Chaobiao杨超标. (2012). 论安世高的译学思想和翻译方法[Exploration on Ashigao’s Translation Thought and Translation Ways].温州大学学报Journal of Wenzhou University (05) 78-83.&lt;br /&gt;
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Zhang Yuwei张雨薇. (2019). 汉唐时期佛经汉译及其特点[The Chinese Translation of Buddhist Sutras and their Featuresduring Han to Tang Dynasties].中州学刊 Academic Journal of Zhongzhou (02)114-118.&lt;br /&gt;
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Xiong Hui熊辉. (2013). 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Translation Strategies to Ancient Chinese and Western Religious Scripture].西华大学学报Journal of Xihua University (01) 67-70. &lt;br /&gt;
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Ma Zhuyi. 马祖毅. (1998). 中国翻译简史[A Brief Introduction to the History of Translation in China].中国对外翻译出版公司 China Foreign Translation Press&lt;br /&gt;
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Wang Dongping, Fang Ruifen. 汪东萍,方瑞芬. (2012). 释道安“五失本、三不易”翻译思想评析[Comment on Shi Daoan's Translation Thought of &amp;quot;Five Losses of Source Texts and Three Difficulties in Translation&amp;quot;].安徽师范大学学报Journal of Anhui Normal University(03) 385-390.&lt;br /&gt;
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WangYan.王焱. (2012). 中国古代佛经翻译的政治化[The Politicalization of the Ancient Chinese Sutra Translation].学术交流 Academic Exchange (05)156-159.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1982). 佛经翻译家鸠摩罗什[Buddhist Translator Kumarajiva].中国翻译 Chinese Translators Journal (03) 24-25.&lt;br /&gt;
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Ma Zhuyi.马祖毅. (1980).伟大的佛经翻译家玄奘[The Great Buddhist Translator Xuan Zang].中国翻译Chinese Translators Journal (02) 18-19.&lt;br /&gt;
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He Zizhang.何子章. (2008). 玄奘“五不翻”原则的现实意义[On Practicability of “The Transliteration in the Five Cases” Suggested by Xuan Zang].襄樊学院学报Journal of Xiangfan University(10) 65-69.&lt;br /&gt;
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Xiu Wenqiao修文乔. (2008). 论权力对翻译的影响—从意识形态角度解读唐朝佛经翻译[Analysis of the Impact of Power on Translation—Interpreting Sutra Translation in Tang Dynasty from the Ideological Point of View].广东外语外贸大学学报Journal of Guangdong University of Foreign Studies(01) 30-34+43.&lt;br /&gt;
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Hou Lixiang.侯丽香. (2016) 从文化传播的视角看佛经翻译对中国语言文化的影响[The Influence of Sutra Translation on Chinese Language and Culture from the Perspective of Cultural Transmission].英语广场English Square (03)13-15.&lt;br /&gt;
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Du Aixian.杜爱贤. (2000). 谈谈佛经翻译对汉语的影响[On the Influence of Sutra Translation on Chinese].世界宗教文化The World Religious Cultures (02) 48-49.&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi 202020080598 比较文学与跨文化研究==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
André Lefevere’s ''Translation History and Culture: A Sourcebook'' and Liu Miqing’s ''A Comparative Study of Chinese and Western Translation Principles'' are two books concerning translation principles and translation theories from the perspective of culture. This paper consists of three parts. In part one, after a brief introduction of ''Translation History and Culture: A Sourcebook'', the paper is about to give an analysis of the excerpts about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. Then, the author will present other scholars' appraisals of this book. The second part will briefly introduce Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'',then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Finally, it will display some scholars' evaluation of the book. In the third part, the paper will make a comparison of these two books to deepen readers' understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative Study of Chinese and Western Translation Principles'', “cultural turn”, John Dryden, translation principles&lt;br /&gt;
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===题目===&lt;br /&gt;
《翻译，历史与文化论集》与《中西翻译思想对比研究》的比较分析&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分将对《翻译，历史和文化论集》进行简要介绍，体现勒菲弗尔“文化转向”的观点，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨，然后对本书进行简要的评价。第二部分将对《中西翻译思想对比研究》进行简述，针对第二章和第三章的内容，对中西方翻译传统的特点进行对比。然后收集相关学者对此书的评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
安德烈·勒菲弗尔,《翻译，历史和文化论集》，刘宓庆，《中西翻译思想对比研究》，文化转向，约翰·德莱登，翻译原则&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
This paper presents the author’s understanding of the two books: ''Translation, History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Principles''. After a brief introduction of these two books, this paper is intended to focus on the analysis of important translation principles and make a comparison of these two books in content and form. This paper will be divided into three parts.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden compares a translator to a slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.&lt;br /&gt;
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In part one, after a brief introduction of the book ''Translation, History and Culture: A Sourcebook'', it will concentrate on John Dryden’s three types of translation: metaphrase, parap，hrase and imitation, and briefly appraise it. Then it will extend Dryden’s views on translator’s position. That Dryden's comparison of the translator and slave exactly reflects the dominant thought about translator in the classical period. Some scholars study the thought of comparing a translator with a slave and discover that besides the representative of literal circles like Dryden, it also prevailed among modern linguistics and the school of translation studies. (Niu Yunping, 2014) Then, the author is about to explain why “comparing a translator to a slave” predominates in the history of Western translation to support Lefevere’s “cultural turn”. Finally, the author will present other scholars' evaluation of this book.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:56, 18 December 2020 (UTC)&lt;br /&gt;
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In part two, the author will give an introduction to the book ''A Comparative Study of Chinese and Western Translation Principles'' in three sections due to the stout volume of this book. Then it will make a comparison between the characteristics of the tradition of Chinese and Western translation based on chapter two and chapter three. Through these chapters, we can comprehend Liu Miqing’s purpose to publish this book. Also, we can find the uniqueness of Chinese translation theories, thus appealing to Chinese and the world for a deep understanding of Chinese culture. Liu Miqing pointed out that the analysis of the characteristics of Chinese translation theory is by no means to boast or to do publication but to do a self-examination. He hoped that through a full analysis of the “being-in-itself” Chinese theories, we could find out the weak points that hinder them in their way to “being-for-itself”. (Liu Miqing 2005. 72) Finally, the author will show some scholars’ appraisals of this book.&lt;br /&gt;
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In part three, it intends to give a brief comparison of these two books in contents and forms.&lt;br /&gt;
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All in all, this paper is written in hope that the readers can understand these two books better and provoke their thought about these two books.&lt;br /&gt;
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===2. Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. &amp;quot;Lefevere's later work on translation and culture in many ways represents a bridging point to the 'cultural turn'.&amp;quot;(Munday 2016,199) As such, ''Translation, History and Culture: A Sourcebook'' serves as good proof of the &amp;quot;cultural turn&amp;quot; of translation proposed by Translation Studies. &lt;br /&gt;
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In general editor's preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as &amp;quot;a rewriting of an original text&amp;quot;. Here, they explained that &amp;quot;rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.&amp;quot; (Lefevre 2003, xi) According to these concepts, Lefevere aims to declare the central function of translation as a shaping force. &lt;br /&gt;
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In the preface of the book, Lefevere looked back to the tradition of translation in western Europe and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs a deep exploration for cultural studies. (Lefevre 2003, xiii) &lt;br /&gt;
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Such an idea was envisaged at the backdrop of the stagnancy of linguistics in the 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of the &amp;quot;cultural turn&amp;quot;. The &amp;quot;cultural turn&amp;quot; was officially termed by Mary Snell-Hornby, meaning the move from translation as text to translation as culture and politics in her paper collected in the book ''Translation, History and Culture'' in 1990, whose publication was valued as the declaration of &amp;quot;cultural turn&amp;quot; of translation studies. (Lefevere and Bassnett 1990, 1-13)&lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, Translation, History and Culture: A Sourcebook, with abundant case studies, is proved to be a good illustration of their thoughts. &lt;br /&gt;
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If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett's thoughts of &amp;quot;cultural turn&amp;quot;, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)&lt;br /&gt;
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The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, The Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the importance of translation thinking, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation plays in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. (Lefevre 2003, xiv)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear fresh and narrate their feelings of being translators. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others. &lt;br /&gt;
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I enjoy reading this book because it brings us and those aloof and remarkable scholars more closer. After reading their original words, they seem to appear fresh before our eyes and narrate their feelings of being translators to us themselves. Through reading the scholar's letters or their original statements, we can review their thoughts on the basis of our understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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I read translators' inferiority in Dryden's words and admire Cicero's courage to assert free translation to defend the privilege of translators. He said that &amp;quot;I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek&amp;quot;. (Lefevere 2003, 47) &lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; through the excerpts collected in Translation, History and Culture: A Sourcebook. (Lefevere 2003, 24;102-105)&lt;br /&gt;
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In this part, I will analyze John Dryden's three types of translation and his comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; through the excerpts collected in ''Translation, History and Culture: A Sourcebook''.(Lefevere 2003, 24;102-105)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:56, 19 December 2020 (UTC)&lt;br /&gt;
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Translation deals with authority and power. A translator rewrites or manipulates the original text in service of power. (Lefevere 2003,2) The role a translator plays in translation depends on the power he is submissive to. In this part, the author analyzes Dryden’s comparison of &amp;quot;author and translator&amp;quot; to &amp;quot;master and slave&amp;quot; in hope for an exploration of the reasons of the translator’s inferiority in translation. It is believed that ''Translation, History and Culture: A Sourcebook'' is written to stress the function of translation as a shaping force.(Lefevere 2003, xii) Therefore, the discussion of Dryden's views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
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Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden's translation of Ovid's Epistles published in 1680. (Lefevere 2003, 102)&lt;br /&gt;
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In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102) &lt;br /&gt;
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Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating the poem in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden argued that when it comes to metaphrase, the translator is encumbered with many difficulties: not only should he consider the thought of his author, his word, and finding out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden's vivid simile, translating poems in such a way is like &amp;quot;dancing on ropes with fettered legs&amp;quot;. The dancer needs to be cautious of falling, so it is hard to expect gracefulness of motion of him. (Lefevere 2003, 103)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:42, 19 December 2020 (UTC)&lt;br /&gt;
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Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation &amp;quot;to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age and in our country&amp;quot;.(Lefevere 2003, 103) &lt;br /&gt;
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As such, the translator needn't care about the author's elaborative use of words or subtle spirit, but to write a poem in the author's style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author's work, but a new produced one, which does express the translator's talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. (Lefevere 2003, 103)&lt;br /&gt;
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Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. &amp;quot;tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance&amp;quot;.(Lefevere 2003, 104)&lt;br /&gt;
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It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that &amp;quot;he may stretch his chain to such a latitude&amp;quot;.(Lefevere 2003, 105) In conclusion, a translator can be allowed liberty for the expression, but the sense of an author is to be respected against violation. &lt;br /&gt;
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Dryden's three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translation, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in Chapter Two, in &amp;quot;Dedication&amp;quot; to his translation of the Aeneid, Dryden argued that &amp;quot;We are bound to our author's sense, though with the latitudes already mentioned&amp;quot;.(Lefevere 2003, 24). He compared a translator to a slave and drudged to express his views on the role of translators. &amp;quot;But slaves we are, and labor in another man's plantation; we dress the vineyard, but the wine is the owner's; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.&amp;quot; (Lefevere 2003, 24)&lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies. (Niu Yunping, 2014) &lt;br /&gt;
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Dryden's words reflect the translator's inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars such as Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies, were spontaneously back to regard translators as the slaves and the authors the masters.(Niu Yunping, 2014) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)&lt;br /&gt;
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A scholar concludes that under the influence of classicism the English cultural circle also showed their tribute to the &amp;quot;classical writers&amp;quot; of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form. Therefore, the translators found that the author's overriding authority was beyond questions. (Niu Yunping, 2014)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:55, 18 December 2020 (UTC)&lt;br /&gt;
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Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73) &lt;br /&gt;
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About the value of this book, Translation, History and Culture: A Sourcebook is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)&lt;br /&gt;
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About the value of this book, ''Translation, History and Culture: A Sourcebook'' is characterized by its abundant contents, which combines translation with history and cultural turn, thus providing referential materials for translation studies. With reference to Lefevere, many texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking on literary translation. (Lefevere 2003, xiii)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:36, 18 December 2020 (UTC)&lt;br /&gt;
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===3. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to analyze the content and the value of the book ''A Comparative Study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing explains that &amp;quot;Sixiang&amp;quot; (&amp;quot;thought&amp;quot; in Chinese) refers to &amp;quot;principle&amp;quot; in the West in this book. (Liu Miqing 2005, 2) &lt;br /&gt;
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In the FAQ passage, the author explained why he wrote this book. &amp;quot;I believe Chinese need to treat translation from the perspective of cultural strategy as our precedents did. This is the most basic and most important Chinese characteristics.&amp;quot;(Liu Miqing 2005, i) It is to appeal to the Chinese and the world for a deep understanding of Chinese culture. &lt;br /&gt;
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Then, it follows the analysis of this book. This book might be divided into three parts: part one, consisting of chapter one to six, discusses the tradition of Chinese translation studies. Part two, consisting of chapter seven to nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. In part three, Liu illustrates the significance of Wittgenstein's philosophy to translation studies in chapter ten and eleven. And he respectively analyses  Benjamin’s view on translation, the originality of translation, and translation is the transcendence of the original text in chapter twelve, thirteen, and fourteen. (Wang Jianguo, 2006)&lt;br /&gt;
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The first part(from chapter one to six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. With reference to Liu, Chinese translation has gone through three leaps. The first phase was to leap from religious translation to scientific translation. The second phase was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30) The third phase is from the 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principal strategy. (Liu Miqing 2005, 33) &lt;br /&gt;
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He later concludes that there are four features of the tradition of Chinese translation: The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators' awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. (Liu Miqing 2005, 43)&lt;br /&gt;
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The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in the new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. (Liu Miqing 2005, 38-39)&lt;br /&gt;
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Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. (Liu Miqing 2005, 150)&lt;br /&gt;
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Finally, the author summarizes a theoretical framework of the meaning of Chinese translation studies and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005,179) &lt;br /&gt;
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The second part is comprised of chapter seven, eight, and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)&lt;br /&gt;
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However, he also recognized that the 1960s to 1970s has witnessed great progress in Western translation theory. Liu divides Western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the forms and the effects of communication, the functions of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work. (Liu Miqing 2005, 288)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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Finally, Liu points out that western translation theory is &amp;quot;technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)&lt;br /&gt;
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Finally, Liu points out that Western translation theory is &amp;quot;technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the superficial, assertive and rational current views and remarks on theory; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. (Liu Miqing 2005, 292-293)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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The third part of this book expounds on the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of &amp;quot;translation and language game&amp;quot;, Liu puts forward that &amp;quot;translation as an interlingual language game is the basic idea of the translation functionalism”. (Liu Miqing 2005, 402)&lt;br /&gt;
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Next, I will analyze and compare the tradition of Chinese and western translation. Regarding Liu Miqing, Chinese translation still needs to regard culture as its strategy. (Liu Miqing 2005, i) This is the first and foremost characteristic of the tradition of Chinese translation. Since translation emerged in China, it has a close relation with culture, as evidenced by the translation of Buddhism. Such is the most distinctive feature between the tradition of Chinese and Western translation. (Liu Miqing 2005,44)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread into China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflects the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)&lt;br /&gt;
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Chinese translation originated from religious translation, the translation of Buddhism. In 58 AD, during Emperor Ming's reign, Buddhism began to spread throughtout China and symbolized the power and ideology of the nation, which involved in politics. Compared with Confucianism, Buddhism not only contains the ethics and social norms but also consists of a set of canons that reflect the integration of religion and politics in foreign countries. (Liu Miqing 2005,44) For instance, during the period of Sectarian Buddhism, in ''Pinimujing'', the religious disciplines compiled by Theravada Sect stipulates that the Buddhist doctrines must be submissive to the law. (Fang Litian, 1987)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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Also, Buddhism was integrated with Chinese politics when it spread into China, which is exemplified in three aspects. Firstly, Buddhism justified the divinity of the feudal monarchy. Secondly, some eminent monks were invited to give counsel to the sovereign directly. For example, emperor Xiaowudi in the Song dynasty designated the monk Huilin to engage in the court. And later Huilin was called Prime Minister in Black, which generally refers to the remarkable monks who also engage in the court. Thirdly, the disciples of Buddhism, including &amp;quot;all is vanity&amp;quot;, &amp;quot;being detached from worldly affairs&amp;quot; and &amp;quot;obedience&amp;quot; actually numbed the people to serve the sovereign, which was conducive to the feudal monarchy. (Fang Litian, 1987) &lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still touched by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)&lt;br /&gt;
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In the middle of the 19th century, the tradition of Chinese translation began to feature as the awareness of national hardship. Today, we are still struck by Yan Fu, Ma Jianzhong, Lin Shu, and other patriotic translators while learning their translation theories that were imprinted in their mission to save China from its plight. In the middle of the 20th century, the tradition of Chinese translation features change from the awareness of national hardship to national rejuvenation. (Liu Miqing 2005, 46)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but cleared the way to economic growth as well. Meanwhile, integrated translation paved the way for European integration. (Liu Miqing 2005, 101) &lt;br /&gt;
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As such, the flourishing of translation is by no means our Chinese's responsibility. Compared to Chinese translation's cultural strategy, the Western translation boasts of its integrated translation, from the early translation of ancient Greek into Roman to the heyday in the 11th century. This not only promoted contact among different languages in Europe but also cleared the way to economic growth as well. Meanwhile, integrated translation has paved the way for European integration. (Liu Miqing 2005, 101) --[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
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The second characteristic of the tradition of Chinese translation is &amp;quot;regulation to perfection&amp;quot;. After the disputes between literal translation and free translation in China, the method of translation finally consolidated to regulation to perfection in Xuanzang's translation theory. The following translators have carried on the thought, such as Yan Fu's Xingdaya, Fu Lei's Shensi theory and Qian Zhongshu's Huajing theory. Their translation principles are the regulation of literal translation and free translation, the content and the form, and the end and the effect. (Liu Miqing 2005, 50-51) &lt;br /&gt;
&lt;br /&gt;
The Western translation also stresses meaning, but it pays more attention to the transformation of morphologic languages due to the identity of etymology, morphology, bilingual syntactic structure, the origin of literary and culture in Western languages. (Liu Miqing 2005, 101) Moreover, Western translation principles give priority to &amp;quot;Communicative Translation&amp;quot;, which is implicit in Chinese translation principles. (Liu Miqing 2005,104)&lt;br /&gt;
&lt;br /&gt;
The third characteristic is &amp;quot;the focus on meaning as well as aesthesis&amp;quot;. Chinese translation balances meaning and aesthesis in binary opposition or tries to express the spirit and the feeling-tone of the original text on the basis of expressing meaning. Lin Yutang proposed that the spirit of the text is compacted in one word. (Liu Miqing 2005, 52)&lt;br /&gt;
&lt;br /&gt;
Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem. (Wang Guowei 2017,15) Therefore, if one attempts to translate the poem, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility. It expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)&lt;br /&gt;
&lt;br /&gt;
Wang Guowei pointed out that the word &amp;quot;Nao&amp;quot; in the verse &amp;quot;Hong Xing Zhi Tou Chun Yi Nao&amp;quot; conveys the Jingjie of the whole poem.(Wang Guowei 2017,15) Therefore, if one attempts to translate Chinese poems, he needs to have aesthetic appreciation. Liu Miqing explains that Chinese is a language of sensibility, it expresses beauty through icons and images. That is why the tradition of Chinese translation concentrates on aesthesis. As such, we can see the strong intercourse between Chinese translation and philosophy and aesthetics, however, Western translation has been connected with linguistics, linguistic philosophic study, and hermeneutic studies. (Liu Miqing 2005,104)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 03:51, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Some scholars expressed their views on ''A Comparative Study of Chinese and Western Translation Principles''. Wang Jianguo claimed that the book was an excellent masterpiece. In this book, Liu compared Chinese and Western translation thoughts from the source. Both Liu's statements and arguments were astonishing. Liu used comparative methods to explore the source of the tradition of Chinese and Western translation studies, thus provoking scholars of Chinese translation studies to think about the value of the tradition of Chinese and Western translation studies. Besides, the book served as an example of innovation in translation studies. (Wang Jianguo, 2006)&lt;br /&gt;
&lt;br /&gt;
Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argued that Liu Miqing's A Comparative Study of Chinese and Western Translation Principles provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)&lt;br /&gt;
&lt;br /&gt;
Lu Wei and Li Defeng shed light on the topic &amp;quot;translation theories with Chinese characteristics&amp;quot; and argued that Liu Miqing's ''A Comparative Study of Chinese and Western Translation Principles'' provided a methodology to explore the source of driving force for the construction of Chinese translation study. (Lu Wei, 2010)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===4. Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
&lt;br /&gt;
===4.1 From the aspect of the content===&lt;br /&gt;
Both of these two books discuss translation principles from the perspective of culture. They differ in their focus and approach. ''Translation History and Culture: A Sourcebook'' concentrates on Western translation principles before contemporary translation studies. While ''A Comparative study of Chinese and Western Translation Principles'' analyses Chinese as well as Western translation principles from their origins to this era. As to the approach, Lefevere analyzes translation principles through varied themes, while Liu Miqing makes a comparison of Chinese and Western translation principles. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, they boast their distinctive writing style. In ''Translation, History and Culture: A Sourcebook'', Lefevere almost leaves no personal remarks or views on these excepts apart from his justification of his classification in the introduction and the beginning of each chapter, thus making this book objective. Also, Liu extracts other translators’ essays, but he illustrates them in a detailed way, and even comments on a certain word, for example, he discusses the “latitude” proposed by John Dryden and questions “in which aspect can translators be given the latitude? How much could they get the latitude?” and so on. (Liu Miqing 2005, 8)&lt;br /&gt;
&lt;br /&gt;
===4.2 From the aspect of the arrangement===&lt;br /&gt;
Both of these two books are arranged in theme, rather than in a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation played in education, and the technique of translating. The longer essays are collected in the last chapter. Liu arranges his book differently.&lt;br /&gt;
&lt;br /&gt;
Both of the two books are arranged in a theme way rather than a chronological way. Lefevere illustrates his classification of this book clearly and extracts abundant statements to rich his idea. He first divides the excerpts on size, and classifies the shorter into seven chapters about the constraints imposed on translation, the position of culture, the role translation plays in education, and the translating technique. Liu arranges his book differently for the longer essays are collected in the last chapter.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:07, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', including the characteristics, origins, schools and limitations of Chinese and western translation, Liu not only quotes other’s statement, he applies many tables to demonstrate his thoughts, which helps the readers better understand translation principles.&lt;br /&gt;
&lt;br /&gt;
Due to the ample scope of ''A Comparative Study of Chinese and Western Translation Principles'', which includes the characteristics, origins, schools and limitations of Chinese and Western translation, Liu not only quotes other’s statement, he also applies many tables to demonstrate his thoughts, which help the readers to better understand the translation principles.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In conclusion, the paper is intended to help readers to understand these two books in depth. After a brief introduction of these two books, it analyzes John Dryden’s three types of translation and his comparison of translator to slave and figures out the reason for the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learns translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.&lt;br /&gt;
&lt;br /&gt;
In conclusion, the paper intends to help readers to have a profound understanding of the two books. After a brief introduction of these two books, there follows the analysis of  John Dryden’s three types of translation and his comparison of translator to slave as well as the figuring out of the reason of the prevailing statement. Therefore, it helps the readers to grasp the core of this book. Meanwhile, this paper makes a short comparison of the characteristics of Chinese and Western translation in the hope of mutual learning. Also, it concludes the values of these two books. In the end, this paper hopes to provoke readers to think about the cultural influence on translation. Therefore, if one dreams to be a qualified translator, he needs to not only master translation skills and learn translation theories, he should but also immerse himself in the culture behind the source and target languages. As such, he can convey the feeling tone or the essence of the original text.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 07:37, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
André Lefevere. (2003). ''Translation, History and Culture: A Sourcebook''. Taylor &amp;amp; Francis e-library.&lt;br /&gt;
&lt;br /&gt;
André Lefevere &amp;amp; Susan Bassnett. (1990). ''Translation, History and Culture''. London &amp;amp;New York: Pinter Publishers.&lt;br /&gt;
&lt;br /&gt;
Chou Huifang仇芳慧. (2019). 从德莱顿“翻译三分法”谈诗译者的素质 [On Poetry Translators’ Qualification from the Perspective of Dryden’s Three Types of Translation].''北方文学'' Northern Literature (24):254-255.&lt;br /&gt;
&lt;br /&gt;
Fang Litian方立天.(1987).佛教与中国政治 [Buddhism and Chinese Politics].''社会科学战线'' Social Science Front (02):113-122.&lt;br /&gt;
&lt;br /&gt;
Jeremy Munday. (2016). ''Introducing Translation Studies'', Theories and Applications, Routledge, Taylor &amp;amp; Francis Group.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing 刘宓庆. (2005). ''中西翻译思想对比研究''. [A Comparative Study of Chinese and Western Translation Principles]. Beijing: China Translation &amp;amp; Publishing Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Lu Wei, Li Defeng鲁伟,李德凤.(2010).中国特色的翻译学:误区还是必然?——兼评《中西翻译思想比较研究》[Translation Studies with Chinese Characteristics: A Misunderstanding or Inevitability? ——A Comment on A Comparative Study of Chinese and Western Translation Principles]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal 23(02):11-14+29.&lt;br /&gt;
&lt;br /&gt;
Niu Yunping, Yang XiuMing牛云平,杨秀敏.(2014). 西方译论中的作者—译者主仆. [Relationship of Author and Translator as Master and Servant in Western Translation Histories].''河北师范大学学报(哲学社会科学版)'' Journal of Hebei Normal University(Philosophy and Social Science) 37(05):92-97.&lt;br /&gt;
&lt;br /&gt;
Wang Jianguo王建国.(2006). 简评《中西翻译思想比较研究》——兼谈译学学术创新 [A Short Comment on A Comparative Study of Chinese and Western Translation Principles——On the Academic Innovation of Translation Studies]. ''中国翻译'' Chinese Translators Journal 27(03):36-38.&lt;br /&gt;
&lt;br /&gt;
Wang Guowei 王国维.(2017). ''人间词话''[Notes on Ci Poems in the World]. Beijing: The Chinese Overseas Publishing House 中国华侨出版社.&lt;br /&gt;
&lt;br /&gt;
Suan Bassnett. (2004). ''Translation studies''. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
==The development and future trend of translation Theory	张慧	Zhang Hui     202070080622    英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This article briefly analyzes Chinese and Western translation theories, expounds the Chinese and Western translation theories in different periods and their historical origins, representatives and translation thoughts, and reveals their development characteristics and trends. Through the many phenomena presented by Chinese and Western translation theories, combined with the current specific economic and social situation and people’s needs, the translation theory is placed in a specific cultural context, looking forward to the development direction of contemporary Chinese and Western translation theories, and making reasonable prospects for it.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Chinese and Western, translation theory, development, trend&lt;br /&gt;
===摘要===&lt;br /&gt;
本文对中西方翻译理论进行了简要的分析，阐述了不同时期的中西方翻译理论及其历史渊源，代表人物和译学思想，揭示了其发展特点和走向。通过中西方翻译理论呈现的诸多现象，结合当前具体经济社会形势和人们的需求，把翻译理论放到具体的文化语境中，展望当代中西方译论发展方向，对其做出合理的展望。&lt;br /&gt;
===关键词===&lt;br /&gt;
中西方，翻译理论，发展，趋势&lt;br /&gt;
===Introuction===&lt;br /&gt;
Translation theory occupies an important position in translation research, and the development of translation theory in China roughly corresponds to the history of translation. The history of translation is mainly divided into the following periods: the first is the ancient period from the translation of Buddhist scriptures to the translation of technology and religion in the Ming and Qing dynasties. The second is the translation theory in the late Qing Dynasty and early Republican period. The third is the Republican period.&lt;br /&gt;
&lt;br /&gt;
Fourth is the period after the founding of the People’s Republic of China. Western translation theory has always been the focus of many scholars’ research, and the achievements and contributions made by China’s translation industry in recent decades in researching translation theory cannot be separated from the study and reference of Western translation theory. In this paper, we will introduce in detail the specific development and schools of Chinese and Western translation theories, and make a reasonable outlook on the development trend of translation theories, aiming to understand the history and look forward to the future.(Gentzler, Edwin.1993.)&lt;br /&gt;
===The Four Periods of Development of Chinese Translation Theory===&lt;br /&gt;
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Ancient Translation Period&lt;br /&gt;
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The translation of Buddhist scriptures, which lasted for thousands of years, left valuable theories for ancient translations. The Preface to the Dharma Sutra, written by Zhiqian during the Three Kingdoms period, pointed out that: &amp;quot;It is not advisable to pass on the different names and objects; nowadays it is easy to know, so do not lose the ease. He first mentioned that translation was not easy, which also reflected the views of the early qualitative school of translation. During the Eastern Jin Dynasty, Taoan put forward the idea of “five losses of originality and three difficulties,” pointing out that there were five situations in which translating Buddhist scriptures would lose its original features, and three situations determined the difficulty of translation.（Chen Fukang.2015.）&lt;br /&gt;
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Kumarajiva, a monk from the Later Qin Dynasty, was the first to raise the question of how to express the style and interest of the original text. By the Tang Dynasty, the translation of Buddhist scriptures reached its peak. A large number of famous translators, represented by Xuanzhuang, emerged. He insisted on the principles of &amp;quot;seeking the truth&amp;quot; and &amp;quot;using the vulgar&amp;quot; in the translation process. He also established the principle of &amp;quot;five not to turn,&amp;quot; which means: the secret reason, the reason containing many meanings, the reason without this reason, the reason to follow the ancient reason and the reason for the birth of good.（Chen Fukang.2015.）（quotation missing）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)&lt;br /&gt;
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Translation of the Late Qing Dynasty and Early Republic of China&lt;br /&gt;
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A group of European missionaries came to China one after another to conduct translation activities, mainly for missionary purposes, but also introduced Western academics. The most important achievement of this translation climax is the translation of some natural science works such as astronomy, mathematics, and machinery. Representatives of this stage are mainly Chinese scientist Xu Guangqi and Italian Ricci. The two of them worked together to translate the first six volumes of the famous Geometry Original. In addition, it is worth mentioning “Ma Shi Wen Tong” by linguist Ma Jianzhong, which is the first Chinese grammar book in Chinese history.（Chen Fukang.2015.）&lt;br /&gt;
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Ma Jianzhong puts forward the “good translation theory”, which puts forward the essence, process and requirements of translation, emphasizing the completion of a book and repeated management. The translation must make the reader read the meaning that the translator must be proficient in the original text and the translated text, comparing the similarities and differences, The laws of the two languages are no different from viewing the original text. Besides,the representative figure of social science translation is Yan Fu, who has translated works such as Evolution and Ethics and Yuan Fu. These are the most important enlightenment translations in China in the 20th century.（Chen Fukang.2015.）&lt;br /&gt;
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Yan Fu first proposed the translation standard of “faithfulness, expressiveness, and elegance” in “The Great Evolution · Translation Examples”. The “faith” he advocates is “the meaning is not back the text”, and “da” is not limited to the form of the original text, and does the best of the translation language to make the original meaning obvious. But Yan Fu’s interpretation of the word “ya” seems to be inadequate today.（Chen Fukang.2015.）&lt;br /&gt;
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His so-called “elegance” can only be considered elegant if the translation itself adopts the “pre-Chinese character syntax”, in fact, the so-called superior classical Chinese. Due to different times, Yan Fu’s interpretation of the “faithfulness, expressiveness, and elegance” translation standards has certain limitations, but for many years, these three characters have not been abolished by the translation industry in my country.（Chen Fukang.2015.）（paragraph too long）--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:10, 16 December 2020 (UTC)&lt;br /&gt;
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In addition, the representative figure of literary translation is Lin Shu. He has translated more than 200 works by 98 writers from 11 countries, such as Dumas of France’s La Traviata.&lt;br /&gt;
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Through comparison, we can see that the translation of Buddhist scriptures is different from the translation of Ming and Qing Dynasties in the following five aspects: &lt;br /&gt;
&lt;br /&gt;
(1) Translator. The former translators are mainly monks, and the latter are students and missionaries. (2) The identity of the translator. The former is the poor and the latter is the upper class. (3) Type of translation. The former is mainly Buddhist scriptures, and the latter is mostly social sciences. (4) Translation method. The former is a literal translation. The latter is a hero translation and a modified translation. (5) The cultural status of translation. The former is based on Chinese culture, and translation makes the mainstream culture stronger. The latter reflects the greater cultural impact of Western culture on Chinese culture.&lt;br /&gt;
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Translation Theory in the Republic of China&lt;br /&gt;
&lt;br /&gt;
Most of the translators in the Republic of China were writers, and they contributed to the maturity of translation thinking in just a few decades. Zheng Zhenduo introduced and commented on “On the Principles of Translation” by the British translator Tytler for the first time, and discussed issues such as retranslation. Contradiction proposed &amp;quot;shenyun translation&amp;quot;, Zhu Ziqing comprehensively summarized the methods of name translation, namely, phonetic and meaning translation, simultaneous phonetic and meaning translation, translation, transliteration, and free translation.（Chen Fukang.2015.）&lt;br /&gt;
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Mao Dun creatively put forward “Charming Translation”, emphasizing that the charm of the original text cannot be lost from the perspective of translation aesthetics. Lu Xun’s contribution to translation studies is related to his “hard translation” idea of enriching the native language with unsatisfactory language. Zhu Shenghao’s translation of “The Complete Works of Shakespeare” is good at maintaining the charm of the original work, conveying the style of Shakespeare, and beautifying the Chinese art gallery with many images and dramatic melodies of Shakespeare.（Chen Fukang.2015.）&lt;br /&gt;
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After the Founding of the People’s Republic of China&lt;br /&gt;
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The two translators who had the greatest influence on the translation industry during this period were Fu Lei and Qian Zhongshu. Fu Lei put forward the idea of translation spirit and aesthetics. He believed that translation should not be literally translated, but should preserve the spiritual outlook and aesthetic characteristics of the original work, and proposed a translation view that emphasizes the spirit and the aesthetics.（Chen Fukang.2015.）&lt;br /&gt;
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Qian Zhongshu used temptation, corruption, and transformation to express his views on translation. Enticement refers to the role that translation plays in the exchange of different cultures, enticing readers to love different literature. Corruption refers to the distance between the original text and the translated text. The translation is inevitably distorted and does not fit the original text. Transformation refers to the highest ideal state of literary translation, which can not show the traces of blunt and far-fetched translation, and can completely preserve the style of the original.（Chen Fukang.2015.）&lt;br /&gt;
===Prospects for the Development of Contemporary Chinese Translation Theory===&lt;br /&gt;
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Emphasis on the study of basic translation theory &lt;br /&gt;
&lt;br /&gt;
Contemporary Chinese scholars have further studied the basic theory of translation based on the research of ancient and modern scholars. From the aspect of translation standards, Gu Zhengkun proposes the concept of multiple and complementary, that is, translation standards are a standard system composed of absolute standards, supreme standards and specific standards, breaking the single standard view. In his Treatise on Translation, Xu Jun gives an all-round explanation of the basic problems of translation in terms of the essence, process, meaning, factors, contradiction, subject, value and criticism of translation.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
&lt;br /&gt;
Contemporary translation theorists have gradually realized that translation research should transcend its own closed research system and draw nourishment from Eastern, Western and Latin American translation theories. The development line of Chinese translation theory requires the mutual appreciation of the East and the West, the ancient and the modern, and the diversified fusion, so as to refine the most characteristic and valuable theories among Chinese traditional translation theories, combine them with modern translation theories, highlight the characteristics of clarity and the spirit of the times, and let the traditional translation theories to flourish with new vitality in the modern context. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
&lt;br /&gt;
“Only by listening to the voice of the times, responding to the call of the times, and seriously studying and solving important and urgent issues can we truly grasp the historical context, find the law of development, and promote theoretical innovation”. Therefore, the development of Chinese translation theory needs to expand various resources such as foreign translation theory, traditional Chinese translation theory, and translation history. Chinese scholars such as Chen Fukang, Wang Hongyin, and Zhang Peiyao have absorbed traditional translation theories, reinterpreted the original theories with modern theoretical discourse, and tried to find a point of convergence to combine tradition and modernity to explain new translation phenomena (Lan Hongjun, 2018). &lt;br /&gt;
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In addition, in the basic research of translation history, there is still a need for clear and detailed research on the existence of translation, translation forms, translation subjects, and the laws of change of translation thought over time, as well as the essential problems reflected by these laws. Therefore, the study of Chinese translation theory should continue to learn from the ideas of Western translation theory and make full use of Chinese traditional translation theory as a resource.(Lan Hongjun, 2018). &lt;br /&gt;
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Innovation of ontology&lt;br /&gt;
&lt;br /&gt;
Translation studies is an open and comprehensive discipline that needs to be developed and improved by the academic nutrients of related disciplines, and the rapid development of language, thinking, and other literary disciplines has brought many new ideas, concepts, and terminology to translation studies. The combination of translation studies and other disciplines has injected fresh vitality into translation theory, for example. Xie Tianzhen’s translation studies is the intersection and fusion of translation studies and comparative literature, and is an important result of interdisciplinary translation studies. Translation studies is not concerned with the problem of language level, but with the problems of information loss, deformation, addition, and extension in the process of transformation of two languages.(Wang Dongfeng. 2014（4）:7-8. ) &lt;br /&gt;
&lt;br /&gt;
Hu Genshen conducts a comprehensive and holistic study on translation from the perspective of ecology. Ecological Translation believes that in the process of translation, translators try to adapt to the ecological environment of translation in order to make the best adaptation and optimization for the peace and balance between the original text and the translation, the translator and the author, the translator and the reader, the translation and the translation culture, and the translator himself, so that the translator’s body and mind are integrated in the ecological environment of translation. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
&lt;br /&gt;
According to Fang Mengzhi, the development of translation studies has formed the pattern and characteristics of “one body and three rings”. The body is the ontology of translation, which is the unshakable foundation for the development of translation science over the centuries. The first ring is the inner ring, which is built up by linguistics and its subdisciplines, and the second ring is the middle ring, which is outside the inner ring. The second ring is the middle ring outside the inner ring, which is developed by philosophy, thinking science, psychology, information theory, and semiotics, and makes the transition of translation studies to a comprehensive discipline. (Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
&lt;br /&gt;
The third ring refers to the cultural study of translation, which integrates translation with politics, economy, society, ideology and so on, and makes translation study a multidisciplinary, multi-level and all-round comprehensive study. We can sort out the relevant problems of traditional Chinese translation theories, for example, we can take “the five lost books, the three not easy” as the theoretical sources or ontological problems, “faithfulness and elegance” as translation standards, and refer to the framework of modern Western translation studies for propositional transformation and theory. It respects the pluralistic development of the discipline as well as the ontological development of the discipline, so that the theory of translation can be extended in many dimensions and developed in many ways.(Wang Dongfeng. 2014（4）:7-8. )&lt;br /&gt;
&lt;br /&gt;
===The Historical Development of Western Translation Theory and Its Classification===&lt;br /&gt;
&lt;br /&gt;
Western translation, like Chinese translation, has an early and long history of more than 2000 years. The first well-documented translation is the Septuagint Greek Bible from Hebrew into Greek in the third century B.C. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own view of translation. Cicero, the father of Western translation theory, was the first to comment on the translation process and formed his own concept of translation. Horace further argued that “paraphrase” opposes “literal translation,” can create new words or introduce foreign words to enrich the national language, and distinguishes between interpretation and translation. &lt;br /&gt;
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The second major model is Jerome’s “dualistic” view of translation, which divides translation into two cases, literal and paraphrase, depending on the text. The third one is Schleiermacher, who believes that language determines thinking, and advocates discussing translation from the perspective of linguistics and literature. The first one is the translation of the Chinese text into Chinese, and the second one is the translation of the English text into Chinese. Jacobson, Newmark, and Naida also hold different opinions on the division of Western translation activities, which is difficult to unify, and these different opinions also reflect the different perspectives, emphasis, and direct and indirect influences of other disciplines on the scholars’ study of translation.(Nida, E. A.1964)&lt;br /&gt;
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The School of Thought and the Main Characteristics of Western Translation Theory&lt;br /&gt;
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Most Chinese and Western scholars nowadays adopt Genzler’s classification method, dividing Western translation theory into three stages: classical translation theory, modern translation theory, and modern translation theory period. Three of the four masterpieces in the history of Western translation appeared in the classical translation period, and translation mostly revolves around religion. Cicero, the father of Western translation, believed that translation cannot be word-for-word, but must be done according to the linguistic habits of the readers of the translated language, and that it must convey the meaning and spirit of the original text, not the linguistic form of the original text.&lt;br /&gt;
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 Cicero, Horace, and Jerome provided new insights for later translation studies by breaking through the constraints. Historians see the seventeenth century as the beginning of modern history. In France, the principles and methods of translation were hotly debated. As the first Western translation theorist, Drayton divided translation into three categories: verbatim translation, paraphrase translation and paraphrase translation; the second one was Tertullian. The three principles of faithfulness of thought and consistency of style proposed by Tertullian had a positive influence on the later translation theories. &lt;br /&gt;
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The controversy between Arnold and Newman over the principles of translation stimulated a lively academic atmosphere and a great debate on translation theory. Goethe further added that poetry is untranslatable, continuing the academic debate between Arnold and Neumann. Schleiermacher and Humboldt argued that translation theory explores linguistic and literary perspectives, and that understanding a text should be a positive act. Historians usually divide contemporary translation theory into two phases: before the Second World War and from the post-World War period to the present. &lt;br /&gt;
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These two phases are distinguished not only by the watershed of the war, but also by the fact that the war was not over until after the Second World War. These two stages of translation theory development present different scenarios. The American School of Translation Training has brought translation to the forefront, with some advances and breakthroughs in translation theory, but it is still limited to discussions of aesthetic experience and certain prescriptive rules. The scientific school of translation has found a scientific basis for translation. &lt;br /&gt;
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Based on linguistics, Naida started a new research on translation theory. After that, Germany started to study Naida’s translation theory and formed German Functionalism. In the early stage, the translation research school advocated to keep the literary character through the research of the co-temporal and historical perspectives of words in order to achieve the goal of faithfulness to the original text, and the translator should adopt the culture and language familiar to the readers and introduce extra-literary elements, and deconstructionism is a kind of subversion of structuralism. &lt;br /&gt;
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Deconstruction is a reversal of structuralism. It gives translators more initiative and provides opportunities for translation creation. During the period of classical translation theory, translation was concentrated in the field of religion, and there were also interdisciplinary studies, and most translations were in the form of rewriting. Most of the translation theories were based on the intuitive experience of the translators, with no theoretical guidance. It was only at the level of literal translation and paraphrase translation, and the research on translation theory was not thorough enough. &lt;br /&gt;
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The modern translation theory period has made great progress in translation theory compared to the classical translation theory period, and the first translation theorist and the first translation theory work appeared in Western history, progressing from the “dichotomy” of the classical translation theory period to the “trichotomy” of the classical translation theory period. It raises the issue of translatability and non-translatability, and improves the accuracy of translation studies.(Bassnett. 1980.)&lt;br /&gt;
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The Response of Western Translation Theory in China’s Translation Industry&lt;br /&gt;
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As for the study of Western translation, there are two opposing viewpoints in China. The first view is that China’s western translation theory research is less theoretical and critical, focusing on intuitive thinking; while western translation theory focuses on reasoning and argumentation, pursuing the integrity of the system, therefore, it is always called Nadda, advocating copying and transplanting the western translation theory to direct application. &lt;br /&gt;
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Another viewpoint is that foreign theorists not only do not have a deeper understanding of translation than Chinese translators, but also have not formed a theoretical system, and they believe that there is no single theoretical work or doctrine in the foreign translation industry that is recognized by most theorists as authoritative and stable, so there is no way to start from the West. Regardless of the viewpoint, as Mr. Cong Zhihang said, the importance of translation theory has become more and more prominent, and it plays an irreplaceable role in translation teaching together with translation practice, and will eventually play a cornerstone for the establishment of translation discipline.(Cao Ruiming. 2006（1）：45-47.)&lt;br /&gt;
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===Analysis of Theoretical Research Status===&lt;br /&gt;
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Descriptive Analysis of Translation Theory Research&lt;br /&gt;
&lt;br /&gt;
First, the distribution of disciplines. This is mainly in the uneven distribution of disciplines. Looking at the current published translation theoretical research works, the proportion of foreign language and literature research is the largest, followed by the research on Chinese language and literature, literary theory, Chinese literature and other disciplines, which fully shows that domestic scholars pay more attention to foreign language discipline research, and also shows the influence of language discipline on translation research, but also shows that the depth and breadth of most scholars’ research still need to be improved. Further increase.(Nida, E. A. 1964.)&lt;br /&gt;
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Second, the research hierarchy. From the existing research results, we can see that the research level is not high. Basic research (social science) has the largest proportion (mainly the application of Western translation theories in various translation practices), followed by industry guidance, basic and secondary vocational education, higher education, engineering technology, etc. However, research results in the fields of economic information research and popular science are not yet abundant.&lt;br /&gt;
Third, researchers and institutions. &lt;br /&gt;
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The current problem is a single researcher and a small number of research institutions. Researchers of translation theory mainly come from universities or research departments engaged in foreign language work, which shows that universities and research institutes have outstanding advantages in talents and resources and have become the main force of translation research, which also reflects that the main body of translation research is too single and other social institutions lack professional foreign language staff, thus the results of translation research are few.(Gentzler, Edwin.1993.)&lt;br /&gt;
Systematic Analysis of Translation Theory Research&lt;br /&gt;
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First, the nature of the research. The current researches are mostly basic researches, mostly analyzing the ontological elements of translation, such as the nature, function, process, and quality evaluation of translation. The number of such researches has been increasing in recent years, but the nature of the researches has not changed much. On the other hand, the research on applied practice mainly focuses on the study of translation operation specifications and practice, such as translation teaching, translation practice and strategies. These researches are mainly the summaries of the experiences of university teachers in the teaching process, while there are not many researches on the academic aspects of other professions.&lt;br /&gt;
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Second, the research level. From the structural level of the current translation research object, it mainly concentrates on two levels: micro research and macro research. Micro research is basic research, that is, when studying general things, the whole is decomposed into parts or the higher level is decomposed into lower level, mainly focusing on key words such as ontological features of translated language and operation norms, which is the main body of current translation research. Macro research, on the other hand, focuses on the whole and the law, grasps the relationship between a certain thing and the environment, and mainly focuses on the cultural significance of translation in terms of social and cultural attributes, ideology, and social development, which does not take up a large proportion.&lt;br /&gt;
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Third, overall distribution.From the academic education of translation, to the practical teaching of translation, to the theory of translation, through practical research as well as modern research on translation teaching method and translation teaching materials, all of them reflect the down-to-earth research spirit of researchers, and many of them have excellent achievements with both theoretical and practical reference value. With the development of domestic foreign exchanges, especially the “One Belt, One Road” initiative, the frequency and opportunities of China's foreign exchanges have greatly increased. The development of China’s translation education and the cultural strategy of going abroad have made the study of translation strategies a hotspot in China, but due to the lack of objective depiction of translation constraints and conditions for strategy use, ontology research and theoretical discussion need to be strengthened.&lt;br /&gt;
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Fourth, the distribution of hot words. Based on the frequency of occurrence of theme words in periodicals, it is found that the distribution of “hot words” in translation theory research has the following characteristics: First, “functional translation theory” has the highest frequency of occurrence. The “functional translation theory” appeared in the 1960s and 1970s, marked by the publication of Rice’s book The Possibilities and Limitations of Translation Criticism. &lt;br /&gt;
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Its representative figure is Christine Nord, who takes the theory of purpose as the core of research, that is, translators should regard translation as some activities carried out to achieve a specific purpose or to satisfy the requirements of the target language readers, mainly emphasizing the translation process, the translator’s thoughts and the specific context in which the translation takes place, and the translator should be responsible for all the parties in the translation process (the principle of fidelity) and adopt different approaches for different translation purposes. &lt;br /&gt;
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This has inspired many western scholars to express their own views on the translation method, thus also inspiring domestic scholars to look at the translation problem from multiple perspectives, to learn from the strengths and make up for the weaknesses, and to advance with the times.&lt;br /&gt;
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Secondly, the term “feminism” has attracted much attention. Since the 1970s, the West has combined feminism with translation theory and translation practice. When the gender of the work, the author, the reader, and the translator are considered from the perspective of feminism, it also brings new insights to the study of translation. Feminism (feminism) has attracted much attention from Chinese scholars in the post-modern and diversified translation context, especially in the 21st century, which also provides room for translators to reconstruct works.Thirdly, the “subjectivity of the translator” begins to occupy a place(Wang Dongfeng,2014).&lt;br /&gt;
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The translator is the executor of translation work and a subjective individual, whose essence is manifested in such characteristics as subjective initiative, passivity, and egoism, and therefore constitutes the subjectivity of the translator based on these characteristics. Translators are also important participants in the construction and composition of the culture of a region or country. Some domestic translators do not highlight their cultural construction role in the multi-language system of the Chinese language, thus the phenomenon of marginalization of the translator’s cultural status and confusion for traditional translation research has arisen. &lt;br /&gt;
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The primitive self-discipline of translators can no longer adapt to the new situation of today’s technological development, and the temporal and spatial changes of translation practice have highlighted the influence on the ethical behavior of translators. The standardization of language, politics, technology, and business makes the ethical behavior of translation more complicated and diversified.&lt;br /&gt;
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===Trends in Translation Theory Research===&lt;br /&gt;
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Interdisciplinary cooperation and integration&lt;br /&gt;
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Today’s world is moving in the direction of diversity. Cultural exchange and integration is the current direction of development. The study of translation theory is no longer an independent discipline, but must be related to other disciplines or even multiple disciplines, transcending and transforming through interaction and cooperation. The term “interdisciplinarity” was first coined in the United States in the 1920s. It was not until the mid-1980s that it became known to scholars in China. It was not until the 1990s that scholars began to use the term “interdisciplinary” instead of “cross-cutting science”. &lt;br /&gt;
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In order to achieve greater research progress and research results, it is necessary to break through disciplinary limitations and concentrate on interdisciplinary research on a larger scale. No matter what kind of research is carried out, as long as it is related to translation theory and draws on the theories of other disciplines, it can be considered as interdisciplinary research. This is not only reflected in the translation theory, but also in the translation research methods and the disciplinary background of the researchers, which will greatly promote the development of translation theory research and make it more systematic, rigorous and rich.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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Return to culture development&lt;br /&gt;
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The study of translation language and translation culture contributes to the practice and development of translation theory. Since translation language and translation culture are both objective existences, the standard of faithfulness, expressiveness and elegance is a matter of degree, and the over or under expression of cultural meaning must be viewed dialectically. Translation research cannot be separated from language as a carrier, and translation should come from language, then go to language, arise from culture, and finally return to culture.&lt;br /&gt;
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Seeking Common Ground while Surviving Differences in Cultural Translation&lt;br /&gt;
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Any translation that involves cultural factors can be called cultural translation, which, like foreign affairs, is based on the same principle of seeking common ground while reserving differences. However, under the influence of traditional culture, if the translated language and culture are not taken into account, the effect will be affected and may even convey the wrong message, so it is necessary to seek common ground while preserving differences. What scholars who study translation seek is to keep the “difference” of the source language and culture to the greatest extent possible on the basis of the readers’ understanding, which is the best integration of Chinese and Western translation.（Su Yue. 2009（6）:121-122.）&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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From the theory and practice of ancient translation theory to the update and development of contemporary translation theory, scholars have continued and developed China's unique translation theory according to the requirements of the times and the basis of practice. The development of the country in the new era puts forward higher demands on translation,the cultivation of translation talents and discipline construction. In short, the development of translation discipline in the new era should emphasize disciplinary functions, expand theoretical resources, innovate ontological concepts, and strengthen school consciousness, so as to make new contributions to the knowledge innovation of translation discipline.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Bassnett. S Translation Studies[ M] .London and New York: Methuen , 1980.&lt;br /&gt;
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[2] Gentzler, Edwin. Contemporary Translation Theories［M］. London: Routledge, 1993.&lt;br /&gt;
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[3] Newmark, Peter. Approaches to Translation [ M]. Oxford and London: Pergamon Press, 1981.Reprint in 1998, New York: Prentice Hall International.&lt;br /&gt;
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[4] Nida, E. A.. Toward a Science of Translating［M］. Leiden: E. J. Brill, 1964.&lt;br /&gt;
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[5] 曹瑞明. 跨文化交际翻译中的差异与融合［J］.西安外国语学院学报, 2006（1）：45-47.&lt;br /&gt;
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[6] 陈福康. 中国译学史［M］.上海:上海外语教育出版社，2015.&lt;br /&gt;
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[7] 蓝红军. 从学科自觉到理论建构:中国译学理论研究 (1987-2017）［J］.中国翻译，2018（01）:14.&lt;br /&gt;
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[8] 苏粤. 国内关联翻译理论研究发展的回顾与思考［J］.湖北经济学院学报: 人文社会科学版, 2009（6）:121-122.&lt;br /&gt;
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[9] 田雨. 走向跨学科的翻译学［J］.中国翻译，2004（2）：31-35.&lt;br /&gt;
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[10] 王东风. 中国翻译研究的过去、现在与未来［J］.上海外国语大学学报, 2014（4）:7-8.&lt;br /&gt;
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[11] 郑振铎.译学书三个问题[ J] .小说月报, 1921, 12 (3):1-25.&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia  202070080645==&lt;br /&gt;
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                                                吴子佳	Wu Zijia  202070080645&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. （Venuti，1995）&lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.（Venuti，1995）&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)（Wenku）&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）（Wenku）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？（Zhang le 2017，37）&lt;br /&gt;
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So differen society can give birth to different cultures.What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea” ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“.（Zhang le 2017，37）&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen 2001,19)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits.（Zhang le 2017，38）&lt;br /&gt;
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Different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended.（Zhang le 2017，38）&lt;br /&gt;
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===''' Comparisons of Practice of Foreignization and Domestication in Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, foreignization is in the dominant position,while domestication acts like a supplementary in this case, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.(Xiao Luan,Feng Xuehua 2011,65)&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.(Xiao Luan,Feng Xuehua 2011,66)&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.(Xiao Luan,Feng Xuehua 2011,67)&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.(Xiao Luan,Feng Xuehua 2011,68)&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on.（Liu Xiaocen 2018，99）&lt;br /&gt;
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For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.Based on the food culture above,domestication and foreignization have been use in different ways.（Liu Xiaocen 2018，99）&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .（Liu Xiaocen 2018，100）&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.（Liu Xiaocen 2018，100）&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”.(Liu Xiaocen 2018，105)&lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen 2018，105)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed BunThere are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. （Liu Xiaocen 2018，105）&lt;br /&gt;
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For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization.（Liu Xiaocen 2018，105）&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu 2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 11&lt;br /&gt;
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我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（Geng Shuang's speech 2020）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶 qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。（Geng Shuang's speech 2020）&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.（Fan Wuqiu 2020）&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 （Zhao Lijian's speech 2020）&lt;br /&gt;
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&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. （Fan Wuqiu 2020）&lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。（Hua Chunying's speech 2020）&lt;br /&gt;
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If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to&amp;quot;稻草、吸管&amp;quot;，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.（Hua Chunying's speech 2020）&lt;br /&gt;
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===''' Conclusion '''===&lt;br /&gt;
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Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, and while doing translation we should choose the proper methods according to our purpose and the characteristic of the culture ,all of which can lead to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
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===''' References '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020).十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* Geng Shuang.耿爽.(2020.2.21).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1747973.shtml.&lt;br /&gt;
* Zhao Lijian.赵立坚(2020.2.25).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1749280.shtml.&lt;br /&gt;
* Hua Chunying.华春莹(2020.11.30).外交部新闻发言稿.&amp;quot;Foreign Ministry Press Statement&amp;quot; .https://www.fmprc.gov.cn/web/wjdt_674879/fyrbt_674889/t1836636.shtml.&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
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==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui 202020080608==&lt;br /&gt;
&amp;lt;center&amp;gt;孔祥慧 Kong Xianghui &amp;lt;/center&amp;gt;&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence on the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:00, 19 December 2020 (UTC)&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Translatology;Linguistic;Discipline Construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）&lt;br /&gt;
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Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. （Wikipedia）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）&lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation was regarded as a linguistic phenomena before. But later, with the development of the translation theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science, especially linguistics, can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.（O Aiping，2012）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.(quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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This chapter will briefly review the research of the construction of Translatology at home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. (quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book ''On Linguistic Aspects of Translation'' published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation. (Norman Jacobson, 1959)&lt;br /&gt;
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Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book ''Toward the Science of Translating'', which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.(Eugene Nida, 1947)&lt;br /&gt;
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J.C. Catford in his book ''A Linguistic Theory of Translation'' (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.(J.A Catford , 1965)&lt;br /&gt;
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J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and regarded seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure. (J.A Catford , 1965)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Holmes published ''The Name and Nature of Translation Studies'' at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.( James Holmes,1975)&lt;br /&gt;
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Holmes published The Name and Nature of Translation Studies at The Third International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation, which directly promoted the construction of translation studies. ( James Holmes,1975)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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In 1982, Wolfram Wilss published ''the Science of Translation: Problems and Methods'', clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.(Wolfram Wilss, 1982)&lt;br /&gt;
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In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from several aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing the translation practice. (Wolfram Wilss, 1982)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Newmark is also a representative figure in the field of translation. In his book ''Exploration of Translation'' (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.( Peter Newmark, 1981)&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is ''Discourse and the Translator'' (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.(Hatim &amp;amp; Mason,1990 )&lt;br /&gt;
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Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990), which is the first book to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers. (Hatim &amp;amp; Mason,1990 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.(Christiane Nord, 1997)&lt;br /&gt;
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Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believed that the interdisciplinary study of translation is the inevitable trend of translation studies. (Christiane Nord, 1997)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published ''Translation and Conflict'': A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.(Mona Baker, 2006)&lt;br /&gt;
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Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and interpret. She also emphasized the importance of corpus-based translation studies. (Mona Baker, 2006) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:13, 19 December 2020 (UTC)&lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress. （Tan Zaixi，1989）&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article ''On the Construction of Translation Theory''. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.(Dong Qiusi, 1951)&lt;br /&gt;
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In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were using correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books would be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe. (Dong Qiusi, 1951)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)&lt;br /&gt;
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In 1987, Tan Zaixi clearly put forward the viewpoint that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published ''On Approaches to Translation Studies''. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.(Tan Zaixi, 1987)&lt;br /&gt;
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In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published On Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' the awareness of the subject of translation studies. (Tan Zaixi, 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In the thesis ''An Overview of Western Translation Theory'' (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)&lt;br /&gt;
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In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, translatology could be divided into two structural systems: internal system and external system. (Liu Miqing, 1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.(Liu Miqing, 1989)&lt;br /&gt;
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In 1995, Liu Zhongde published ''Views on the Establishment of Translation Studies'', in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is ''Chinese Translation Studies'', including ''The History of Translation in China''. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.(Liu Zhongde, 1995)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
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At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics. ( Zhang Meifang, 2005) (Huang Guowen, 2006)&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). （Lv Jun，2002）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Subsequently, Lu published ''Constructing The Linguistic Basis of Translation Studies'' (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)&lt;br /&gt;
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Subsequently, Lv published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new perspective for the study of the construction of translation studies and promoted the transformation from structuralist linguistics to pragmatics. (Lv Jun, 2004)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.(Li Zhenguo ,2017)&lt;br /&gt;
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Yi Jing published his doctoral thesis ''On The Construction of Translation Studies'' (2009), which systematically and objectively sorted out the construction of translation studies. Kong X&lt;br /&gt;
iangli's thesis ''On The Construction of Translation Studies'' in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.(Yi Jing, 2009)&lt;br /&gt;
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Yi Jing published his doctoral thesis On The Construction of Translation Studies (2009), which systematically and objectively sorted out the development of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies. (Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In ''A Study on Linguistic Translation'' (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. (Zhang Boran,2008) (Yi Jing,2012) &lt;br /&gt;
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Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. (Zhao Wenting,2016)&lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.(Zou Bing and Mu Lei, 2020) &lt;br /&gt;
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Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple approaches of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation. (Zou Bing and Mu Lei, 2020) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in ''Translation View in Cognitive Linguistics'' proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition.(Wang Yin,2017)&lt;br /&gt;
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In recent years, translation studies have developed rapidly. With the rising of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precedes translation, and translation is also the result of experience and cognition. (Wang Yin,2017)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.(Fan Xiangtao and Lu Bixiao , 2019)&lt;br /&gt;
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Later, many scholars have studied the relationship between cognitive linguistics and translation.  Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western translation studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward west, and there is still a great space for future research on cognitive translation. (Fan Xiangtao and Lu Bixiao , 2019)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)&lt;br /&gt;
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Liao Qiyi proposed in ''Corpus and Translation Studies'' (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the significance of the corpus related to translation teaching and translation theory. (Liao Qiyi, 2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)&lt;br /&gt;
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Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies of the researches. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics. (Li Yan ,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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From the above literature review, it can be seen that since the last century, from the emergence of the awareness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.（Yang Zijian，1993）&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies. ( quotation missing)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often be confused. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definitions of translation, translation is a cross-cultural activity involving the conversion of two languages.(Tan Zaixi 1987)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995）&lt;br /&gt;
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In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is also used to refer to translation studies.&amp;quot; (Wikipedia) Liu Zhongde also set the definition that translatology is a comprehensive and systematic study of the rules of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.（Liu Zhongde，1995） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.( Kong Xiangli,2009)&lt;br /&gt;
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Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic, literature, philosophy etc. ( Kong Xiangli,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies. (Liu Zhongde,1989)&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline and to the rapid development of translation studies.  (Liu Zhongde,1989)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.(Yi Jing,2009)&lt;br /&gt;
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Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translator appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei ect. (Yi Jing,2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)&lt;br /&gt;
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The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated texts. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.（Yi Jing,2008)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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'''3.2.2 The awareness of an independent academic discipline'''--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.(Tan Zaixi, 1987 )&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of an independent discipline and proposed a classification of the research field. Nida and Willss also argued that translation is a science, not a merely a technical activity. (Tan Zaixi, 1987 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）&lt;br /&gt;
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Such a group of people also appeared the independence of translation in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, many famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.（Wang Qinghua，2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018)&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies have shown a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.(Tan Zaixi 2018) --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.（Wikipedia）&lt;br /&gt;
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Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its research field, and this trend may be expected to continue.（Wikipedia）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.(Zou Bin, Mu Lei, 2020 )&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation by early linguists; second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies. (Zou Bin, Mu Lei, 2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists began to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology were linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. (Yi Jing, 2009 ) &lt;br /&gt;
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Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.（Yang Zijian 1987）&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )&lt;br /&gt;
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These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their researches inspired later scholars to continue to explore the value of translation. However, their contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough. (Lv Jun, 2004 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.(Zou Bin, Mu Lei,2020 )&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, systematic-functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies. (Zou Bin, Mu Lei,2020 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists took Saussure's theory as the theoretical foundation and regarded linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States. With the promotion of structural linguistics, translators begin to conduct translation studies with the assistance of structural linguistics.(Lvjun，2004)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China.  ( Yi Jing, 2009)&lt;br /&gt;
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Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts that are &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has exerted a great influence in the West and China. ( Yi Jing, 2009)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .(Yi Jing,2012)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.（Zou Bin,Mu Lei,2020)&lt;br /&gt;
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Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural context of language.（Zou Bin,Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the development of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.（Zhang Meifang，Huang Guowen，2002） --[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics.(Yi Jing, 2009 )&lt;br /&gt;
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Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics theory. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics. (Yi Jing, 2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.（Zhang Meifang，Huang Guowen，2002）&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition,  and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.（Wang Yin,2017）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.(Liao Qiyi， 2000)&lt;br /&gt;
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Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and materials for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool and new research perspectives for translation studies and provides great convenience for translation studies. ( Liao Qiyi，2000)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.(Kong Xiangli，2009 )&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The publication of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.（Kong Xiangli，2009）&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is quite similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories. (Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.(Kong Xiangli，2009 )&lt;br /&gt;
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The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, publishing cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge. (Kong Xiangli，2009 )--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:47, 19 December 2020 (UTC)&lt;br /&gt;
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4.4.2 Discipline structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.(Yang Zijian,1993)&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good example. (Yang Zijian,1993)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
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From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）&lt;br /&gt;
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From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study. Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.（Yi Jing，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be learned from other related disciplines. Translation studies and linguistics can also learn from each other and develop together. In the process of development, linguistics has absorbed the experience of many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., formed many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.（Kong Xiangli，2009）--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:51, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)&lt;br /&gt;
&lt;br /&gt;
Linguistics has gone through several stages of development, and it has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics provided experience for the construction of translation studies.  ( Zou Bin, Mu Lei,2020)--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot;  Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.(Liu Miqing, 1989)&lt;br /&gt;
&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators should only take other disciplines for reference, not grafting.&amp;quot; Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely. ( (Liu Miqing, 1989))--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 08:55, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
Catford, J.A.(1965). ''Linguistic Theory of Translation'' . Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
Holmes, James S.(1975). The Name and Nature of Transition Studies . ''Holland Amsterdam, Amsterdam University Press''.&lt;br /&gt;
&lt;br /&gt;
Jixing LONG. (2019). Translation Studies From Multiple Perspectives. ''Studies in Literature and Language.''&lt;br /&gt;
&lt;br /&gt;
Baker Mona.（2006). Translation and Conflict: A Narrative Account . London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Ding Xinshan. 丁信善. (1998). 语料库语言学的发展及研究现状. [The Development and Research Status of Corpus Linguistics]. ''当代语言学''[Modern Linguistic] 3-5.&lt;br /&gt;
&lt;br /&gt;
Fang Xiangtao,Lu Bixiao. (2019). 范祥涛,陆碧霄.认知翻译研究的观念和方法. [Concepts and Methods of Cognitive Translation Studies]. ''外语教学''[Foreign Language Education] 8-12.&lt;br /&gt;
&lt;br /&gt;
Huang Guowen. 黄国文. (2006). 关于翻译研究语言学探索的几个问题. [Questions about the Linguistic Exploration of Translation Studies]. ''外语艺术教育研究''[Educational Research on Foreign Languages &amp;amp; Arts] 35-41.&lt;br /&gt;
&lt;br /&gt;
Kong Xiangli. 孔祥立. (2009). 中国翻译学学科建设论. [On the subject construction of Chinese Translation Studies]. 上海外国语大学[Shanghai International Studies University].&lt;br /&gt;
&lt;br /&gt;
Li Yan, Feng Huali. 李艳,冯华丽.(2020) 国内基于语料库的翻译研究二十年综述(1999—2018). [A review of 20 Years of Corpus-based Translation Studies in China(1999—2018)]. ''成都理工大学学报(社会科学版)'' [Journal of Chengdu University of Technology(Social Science) ]105-110.&lt;br /&gt;
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Liu Miqing. 刘宓庆. (1989). 西方翻译理论概评. [An Overview of Western Translation Theory]. ''中国翻译''[Chinese Translators Journal] 2-6.&lt;br /&gt;
&lt;br /&gt;
Liu Zhongde. 刘重德. (1998). 关于建立翻译学的一些看法. [Views on the Establishment of Translation Studies]. ''外国语(上海外国语大学学报)'' [Foreign Languages (Journal of Shanghai International Studies University)] 27-31+60.&lt;br /&gt;
&lt;br /&gt;
Lv Jun. 吕俊. (2004). 建构翻译学的语言学基础. [The Linguistic Basis of Translation studies]. ''外语学刊''[Foreign Language Research] 96-101.&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi. 廖七一. (2000). 语料库与翻译研究[Corpus and Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 380-384.&lt;br /&gt;
&lt;br /&gt;
O Aiping. 欧爱萍.(2012). 浅谈语言学对翻译学科的影响. [A Brief Discussion on the influence of Linguistics on translation]. ''中外企业家''[Chinese and Foreign Entrepreneurs] 179-180.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi. 谭载喜,Eugene A.Nida. (1987). 论翻译学的途径. [Approaches to Translation Studies]. ''外语教学与研究''[Foreign Language Teaching and Research ] 24-30+79.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2005). 认知语言学的翻译观. [Translation View in Cognitive Linguistics].''中国翻译''[Chinese Translators Journal] 15-20.&lt;br /&gt;
&lt;br /&gt;
Wang Yin. 王寅. (2017). 基于认知语言学的翻译过程新观. [Translation Process View Based on Cognitive Linguistics]. ''中国翻译''[Chinese Translators Journal] 5-10+17+129.&lt;br /&gt;
&lt;br /&gt;
Wang Qinghua,Zhang Chunbai. 汪庆华,张春柏. (2017). 翻译学的先驱:董秋斯翻译学思想探析. [A Pioneer of translation Studies: An Analysis of Dong Qiusi's Translation Studies]. ''上海翻译''[Shanghai Journal of Translators]67-72+95.&lt;br /&gt;
&lt;br /&gt;
Yi Jing, Xie Chu. 易经,谢楚. (2012). 翻译学从属于语言学吗?——析语言学派的翻译学定位. [Does Translation Belong to Linguistics? -- An Analysis of the Translation Orientation of Linguistic Schools]. ''湖南人文科技学院学报''[Journal of Hunan Institute of Humanities，Science and Technology] 74-77.&lt;br /&gt;
&lt;br /&gt;
Yi Jing. 易经. (2009). 试论翻译学体系的构建. [On The Construction of Translation Studies ].湖南师范大学[Hunan Normal University ].&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1987). 谈谈语言科学的发展. [A Discussion of the Development of Language Science].''山东外语教学''[Shandong Foreign Language Teaching] 10-15.&lt;br /&gt;
&lt;br /&gt;
Yang Zijian. 杨自俭. (1993). 我国近十年来的翻译理论研究. [Research on Translation Theories in Recent Ten Years in China].''中国翻译''[Chinese Translators Journal] 11-15.&lt;br /&gt;
&lt;br /&gt;
Zhang Bairan. 张柏然. (2008). 试析翻译的语言学研究 [A Study on Linguistic Translation]. ''外语与外语教学''[Foreign Language Teaching and Research ]58-60.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang, Huang Guowen. 张美芳,黄国文. (2002). 语篇语言学与翻译研究. [Discourse linguistics and Translation studies].''中国翻译''[Chinese Translators Journal] 5-9.&lt;br /&gt;
&lt;br /&gt;
Zou Bin, Mu Lei. 邹兵,穆雷. (2020). 语言学对翻译学的方法论贡献——特征、问题与前景. [The Methodological Contribution of Linguistics to Translation Studies: Features, Problems and Prospects]. ''中国外语''[Foreign Languages in China] 77-84.&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China-许晶Xu Jing,202020080658==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
With the continuous advancement of reform and opening-up, foreign trade and international exchanges have become more and more frequent, there is an increasing demand for translation talents, and the team engaged in translation studies has become more and more powerful. The development of Translation Studies as a discipline is getting better and better. By reviewing the development of the Translation Studies in China, as well as reading and refining of translation literature in recent years, this article analyzes the current problems of the learning of Translation Studies and puts forward relevant suggestions from the perspective of translation education and the perspective of students.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Translation Studies, translation education, translation talents&lt;br /&gt;
&lt;br /&gt;
==='''题目'''===&lt;br /&gt;
&lt;br /&gt;
对中国翻译学学习的反思&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析学习翻译学科目前存在的问题，并提出相关的建议。&lt;br /&gt;
&lt;br /&gt;
随着我国改革与开放政策的不断推进，对外贸易和国际之间的交往变得越来越频繁，对于翻译人才的需求越来越多，从事翻译研究的队伍也越来越壮阔，翻译学的学科发展也越来越好。本文通过回顾翻译学科在中国的发展历程，以及对近年翻译学文献的阅读和提炼，从翻译教育视角和学生视角出发，分析翻译学科学习目前存在的问题，并提出相应的建议。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:36, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''=== &lt;br /&gt;
&lt;br /&gt;
翻译学，翻译教育，翻译人才&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''1. Introduction'''===&lt;br /&gt;
&lt;br /&gt;
1.1. The Connotation of Translation Studies&lt;br /&gt;
&lt;br /&gt;
Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;''The Name and Nature of Translation Studies''&amp;quot;, is a basic statement of translation studies: it calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
&lt;br /&gt;
Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, including comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
&lt;br /&gt;
Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation Studies can examine the practice and background of translating professional texts (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
&lt;br /&gt;
Learning these contents enables students to apply their theoretical understanding to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually include the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills needed to solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.&lt;br /&gt;
&lt;br /&gt;
1.1. The Connotation of Translation Studies&lt;br /&gt;
Translation Studies used to refer to the researches of translation. It was not until the 20th century that translation studies became a formal academic discipline. The landmark paper published by James S Holmes in 1972, titled &amp;quot;The Name and Nature of Translation Studies&amp;quot;, is a basic statement of translation studies，which calls for the establishment of a unique discipline with its own classification system.(James S Holmes 1972) &lt;br /&gt;
&lt;br /&gt;
Basically, at present, Translation Studies is a research field that studies the theory, description and application of translation. Because it treats translation not only as a transfer between languages, but also as an exchange between cultures, it can also be described as an interdisciplinary involving other fields of knowledge, such as comparative literature, cultural studies, gender studies, computer science, history, linguistics, philosophy, rhetoric and semiotics.(wikipedia)&lt;br /&gt;
&lt;br /&gt;
Now Translation Studies as an academic discipline, it requires a systematic study of translation, which is not only an applied practice, but also a means to understand the movement and transfer between multiple languages and cultures. Translation Studies involves the translator's practical experience; it also explores the history and philosophy of translation and current trends in the field from the perspective of theory and methodology. Translation studies can examine the practices and context of translating texts that are specialist (law, business, medicine, etc.); it may also explore the art of translation as a creative act in literary translation and international marketing. Translation studies can also explore how issues such as culture, power, gender, and moral media affect translation behavior. &lt;br /&gt;
&lt;br /&gt;
Learning these knowledge enables students to apply their understanding of theories to the methods, techniques and choices used in daily translation practice. In addition, Translation Studies usually includes the analysis of key texts to enable students to develop an awareness of understanding and interpretation issues. It also involves the development of analysis, practice, evaluation, aesthetics and descriptive skills that are necessary elements  solve translation problems. Finally, it includes the development of research skills, practical translation skills, and the ability to develop strategies for managing complex language and cultural transactions.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:49, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.2. The Significance of Translation Studies&lt;br /&gt;
&lt;br /&gt;
With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. At the same time, as today's multicultural and multilingual society requires effective, efficient and understanding communication between languages and cultures, translation skills have become more and more important and desirable. &lt;br /&gt;
&lt;br /&gt;
As a science, Translation Studies has always had its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
&lt;br /&gt;
Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can understand the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. This is also the necessity for translators to learn Translation Studies.(Chu Xizhi 2009)&lt;br /&gt;
&lt;br /&gt;
1.2. The Significance of Translation Studies&lt;br /&gt;
&lt;br /&gt;
With the introduction of university schools and courses, related conferences, translation journals and other translation-related publications, the discipline of translation studies has also been developed. With the requirement of effective, efficient and understanding communication between languages and cultures in today's multicultural and multilingual society, translation skills have become more and more important and desirable. &lt;br /&gt;
&lt;br /&gt;
As a science, Translation Studies always has its own laws that cannot be ignored, and its systematic theories are different from other disciplines. The so-called translation theory is a thorough and systematic description of these laws, which make the skills and techniques that can only be understood in mind in translation into a knowable object and a theoretical system. &lt;br /&gt;
&lt;br /&gt;
Translation theory can provide translators with a series of macro descriptions of the objective laws of translation, as well as in-depth analysis of the internal relations and mechanisms of these laws. By learning translation theory, translators can have a good understanding about  the essence of translation behaviors and the fundamental standards of translation better. At the same time, knowing the laws of translation science and translation art, translators who are with the guidance of translation theory and scientific argumentation and methodology will selectively implement the reference means provided by translation theory in practice, and work effectively; When dealing with the difficulties of translation, translator can use a variety of methods. In this way, the translation process can be both scientific and flexible, and the translator can consciously exert their initiative, so that the translation practice becomes a high-level language communication. It is necessary for translators to learn Translation Studies.(Chu Xizhi 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:45, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''2. The Development Process of Translation Studies in China'''===&lt;br /&gt;
&lt;br /&gt;
Translation activities has appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, the flourishing period of Translation Studies.&lt;br /&gt;
&lt;br /&gt;
Translation activities appeared in China very early, but translation as a discipline appeared relatively late. With the advancement of the People's Republic of China and the promotion of foreign exchanges, China's translation industry has flourished since the establishment of the People's Republic of China. After reading a large number of documents and reviewing the ups and downs of the translation discipline and the translation major in the past 71 years, the author has made a comprehensive analysis and believes that the development process of Translation Studies in China can be divided into the following three stages: the exploration period of Translation Studies, the development period of Translation Studies, and the flourishing period of Translation Studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1. The Exploration Period of Translation Studies &lt;br /&gt;
&lt;br /&gt;
In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, Almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
&lt;br /&gt;
In the initial stage of the Translation Studies, the famous translator Dong Qiusi in 1950 pointed out that “although there are thousands of hundreds of years of translation experience, there are also 10,000 people engaged in translation, but those who study translation theory, almost no. What we have are some translation regulations and fragments of experience for temporary reference.&amp;quot; He clearly called for the establishment of &amp;quot;a complete translation theory system&amp;quot; (Dong Qiusi 1950 ). It is a pity that Dong Qiusi's appeal did not attract much attention. &lt;br /&gt;
&lt;br /&gt;
The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared in history.&lt;br /&gt;
&lt;br /&gt;
The translation industry in China is still satisfied with the translator’s experiences, and even mistakes their experiences as theory. In the early days of New China, due to the needs of national construction and foreign exchanges, translation activities were initially highly valued and supported by the party and governments at all levels. Translations of various translation groups, journals, papers, conferences and political documents appeared on the scene.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have become increasingly single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.&lt;br /&gt;
&lt;br /&gt;
However, affected by political factors at home and abroad, the development of translation disciplines has almost stagnated, the number of translations has been greatly reduced, and the types of works have been single. During this period, the people engaged in translation discipline construction were front-line foreign affairs translators and literary translators. They were mainly responsible for political and literary translation practice, and of course translation criticism, translation publishing, translation management, etc.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
At that time, because a large number of people who understand foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to strengthen foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under foreign language and literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)&lt;br /&gt;
&lt;br /&gt;
At that time, because a large number of people who master foreign languages were needed for national construction, language learning was the main task of academic industry, and translation teaching was regarded as a means to improve foreign language ability. Later, with the advancement of reform and opening up, a group of teachers and students who were concerned about translation teaching in the foreign language community joined the group of developing Translation Studies. The number of publications on scientific translation, teaching studies, textbook research, and introduction to Western translation theories has gradually increased. But Translation Studies at this stage is still attached to the third level research direction under Foreign Language and Literature, but the distinction between translation teaching and language teaching has gradually become clear.(Xu Jun;Mu Lei 2009)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.2. The Development Period of Translation Studies&lt;br /&gt;
&lt;br /&gt;
At the beginning of this period, it was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. &lt;br /&gt;
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At the beginning of this period, translation studies was explored whether the Translation Studies can become an independent discipline, whether there is a difference between the training of translation professionals and the training of traditional foreign language talents, and what are the differences. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the construction team translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation desperately. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of &amp;quot;''China Translator''&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)&lt;br /&gt;
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At this stage, some masters and doctors in translation studies joined the team to construct translation discipline. Researchers' disciplinary awareness and interdisciplinary awareness have increased, methodological awareness has sprouted, and the number of micro-level translation teaching research has increased. In the teaching of translation majors, more attention has been paid to theoretical explanations, textual comparisons between English and Chinese, and extra-linguistic factors in translation activities. In 2003 and 2005, Shanghai International Studies University and Guangdong University of Foreign Studies established Graduate Institute of Interpretation and Translation in succession. The first degree in Translation Studies was established by the Ministry of Education in Shanghai in 2004, which can be regarded as a sign that Translation Studies have been recognized by the system as a secondary discipline. To this end, a group of special articles in the third issue of “China Translator&amp;quot; in 2004 come to congratulate.(Luo Feng 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, space and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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Since the establishment of Translation Studies, its disciplinary connotation has been explored, the system has been gradually improved, the framework has become increasingly substantial, and its social contribution has been unique and huge.Translation research ideas, methods, field and resources are further expanded, translation teaching methods, tools and resources are enriched, the number of applied texts in translation teaching increases, and the professional orientation is much clear.(Huang Zhongqian, Zhang Xiao 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) &lt;br /&gt;
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2.3. The Flourishing Period of Translation Studies&lt;br /&gt;
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In 2011, the Ministry of Education adjusted the discipline catalog and listed &amp;quot;Translation Studies&amp;quot; as a second-level subject under the first-level discipline of &amp;quot;Foreign Languages and Literature&amp;quot; officially. As a result, the status of Translation Studies was formally established, facing the world, serving demand, and standardizing construction.(Huang Zhongqian, Zhang Xiao 2020) &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Many levels have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training. &lt;br /&gt;
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In the flourishing period,  the construction of translation disciplines and the development of translation majors in China have shown a new look. Translation studies have jumped to new levels, which is reflected in the new breakthroughs in the main construction force. A large number of language service industry practitioners, technical experts and translation scholars have collaborated to provide suggestions for the construction of translation disciplines and talent training.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:02, 19 December 2020 (UTC) &lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.&lt;br /&gt;
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There are many publications on translation teaching research, translation technology research, translation market and language service industry research, and the construction of the discourse system of translation theory with Chinese characteristics. New changes have taken place in the focus and form of translation teaching. Translation teachers train students to acquire the industry knowledge, technology, skills and accomplishments required by the language service market by inviting industry instructors into classrooms to share their ideas, and through other methods such as project cooperation, field learning, and simulation.（quotation missing）&lt;br /&gt;
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==='''3. Challenges of Learning Translation Studies in China'''===&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. China's translation discipline has now entered a new stage, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.&lt;br /&gt;
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The development of Translation Studies as a discipline in China did not happen overnight. It also experienced ups and downs along the way. Translation discipline in China has entered a new stage now, and the team of Translation Studies has become larger and larger. More and more colleges and universities set up MTI and MA in Translation. More students and scholars began to engage in Translation Studies. However, due to various reasons, in the process of learning Translation Studies, we also face many problems and challenges. This chapter will introduce the problems of learning Translation Studies in China from the perspectives of translation education and students' personal factors.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1. Translation Education&lt;br /&gt;
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With the establishment of the status of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the training of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） &lt;br /&gt;
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With the establishment of the autonomy of China’s Translation Studies, translation education grows up. And with the historical process of reform and opening for more than 40 years, translation education has made brilliant achievement and has promoted the cultivation of translation professionals, and also will further make important contributions to national economic and social development. It is obvious that translation education plays an important role in the learning process of Translation Studies. A good translation education plays a positive role in the development of translation disciplines, and can also help students learn Translation Studies better.（Huang Youyi 2018） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, and systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.&lt;br /&gt;
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However, China's translation education started and developed after the reform and opening up, so it is relatively late. Under the background of the new era, it still faces many challenges and urgently needs to be addressed. In addition, the construction history of Translation Studies is not long, and the construction of a complete translation teaching system is still on the way of continuous development, so systematic researches on translation teaching still needs efforts. The author mainly analyzes this problem from four aspects: the orientation of the cultivation of translation talents, the faculty resources, the teaching mode and translation teaching research.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.1. Orientation of the Cultivation of Translation Talents&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to the unclear concept of the cultivation of translation talents. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation professional teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)&lt;br /&gt;
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At present, the orientation of the cultivation of translation talents is not particularly clear. In the actual teaching practice, some colleges and universities do not separate translation major students and English major students clearly due to bluring and confusing educational goal of translation major. There are few differences in teaching model between translation major and the traditional English major. In addition, different colleges and universities still have not unified the concepts, principles, methods and other macro ideas of translation major teaching, and they are independent in the specific classroom teaching operations, and the curriculum settings are out of touch with the market.(Zhong Weihe; Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)&lt;br /&gt;
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In addition,due to the inconsistency between the talent cultivation model in some universities and the development of translation industry, a considerable number of translation graduates do not have good professional ethics, wide encyclopedia knowledge, and professional skills and learning ability. In addition, most of them are lack of organizational management ability, innovation ability as well as collaborate ability. Those reasons have seriously affected the quality and quantity of cultivating translation professionals.(Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.2. Faculty Resources&lt;br /&gt;
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The quality of teachers is closely related to the effect of English translation teaching. English translation has higher requirements for teachers' teaching guidance ability, response ability and language organization ability. &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck problem that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data show that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019) &lt;br /&gt;
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The problem of translation teachers has always been a bottleneck that needs to be broken through. The teachers here include both full-time teachers and part-time teachers. Recent evaluation data shows that although the number of the teacher in translation major is sufficient and the structure is reasonable, the number of professional translators is lacking, and the teachers' scientific research and practical ability are seriously lacking. Statistics for part-time teachers show that the number of part-time teachers can be guaranteed, but only 27% are from the language service industry, and the rest are from the government and universities, which is inconsistent with the requirements of the &amp;quot;''National Standard of Part-time Teacher in MTI Education'' &amp;quot;. (Zhong Weihe 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC) &lt;br /&gt;
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In addition, many English teachers in colleges and universities have been in a professional teaching environment for a long time and rarely have the opportunity to participate in practice. This has caused translation teaching to derail from the actual situation to some extent, resulting in poor training of professional translators and affecting the overall development of students.(Chen Cheng 2020)&lt;br /&gt;
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3.1.3. Teaching method&lt;br /&gt;
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Relatively speaking, the teaching mode of translation teaching in China is still based on traditional English major teaching, and the teaching mode is relatively single. The most commonly used form is to explain the theory and skills, then explain and appreciate the analysis through the example sentences and example texts on the professional textbooks, and finally arrange homework based on the content of this class. (Wang Baigula 2018) &lt;br /&gt;
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This kind of teaching method that ignores student autonomy is entirely a teacher-centered teaching model, which will place too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.&lt;br /&gt;
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This kinds of teaching method that is entirely a teacher-centered teaching model ignore student autonomy, which will pay too much emphasis on teachers and teaching materials to a large extent, restricting teachers’ ability to innovate and explore. In addition, this kind of translation mode will restrain students' interpreting practice ability to a certain extent and ignore life culture and skills. This will cause translation majors to limit their learning content to test papers instead of translation researches and the process of translation practice.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.1.4 Translation Teaching Research&lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is rare.（Ou Yonghua 2019） &lt;br /&gt;
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The current achievements of translation teaching research in China are mainly expressed in impressionistic and scattered personal experiences, lacking systematic research and strong theoretical support. In other words, it lacks systematic theoretical guidance, clear methodology guidance and effective research method. And the research methods are still based on reflection and experience, and importantly, the empirical research is inconsiderable.（Ou Yonghua 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, combining actual translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)&lt;br /&gt;
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Besides, the number of interdisciplinary researches is relatively small, and there is also a lack of sufficient number of experiments and opportunities in actual application fields. Translation discipline has a big difference comparing to other disciplines, mainly because of its high interactivity, which requires the participation of many disciplines. Only in this way can the value of the translation discipline be brought into play. However, according to the actual situation of translation learning and translation education in colleges and universities, it can be seen that China has not paid enough attention to this aspect, so that many interdisciplinary content is only on the surface, but do not deep into the actual situation.(Bo Zhenjie, Li Heqing 2011)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.2. Students&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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The above mentioned the impact of translation education on translation studies, and the following part will analyze the difficulties faced by students when learning translation studies. In China, English courses are offered from the elementary school, so it is a long journey to learn English. It stands to reason that after a long period of study, students can master English proficiently, and be proficient in oral and writing. But this is not true. The reasons for this situation are as follows.&lt;br /&gt;
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3.2.1. Low level of commitment to translation learning&lt;br /&gt;
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Although Chinese students begin to learn English very early and study for a long time, the effective efforts for English learning is not enough. &lt;br /&gt;
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Translation is not only a simple language conversion, its process is complex and tortuous, especially when the process of translation encountered strange and difficult to understand the content, it requires the translator to be patient, as far as possible to invest their time and energy to search and verify the related knowledge. Most of the time, the unqualified translation results from the fact that the translator does not invest enough time and energy, and only has a superficial understanding of background knowledge, professional terms or corpus search. At the same time, it is difficult for students to have the amount of extra-curricular English reading and accumulate a rich vocabulary. (Wang Na 2020)&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between the word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.&lt;br /&gt;
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As a result, students' basic English translation skills are not solid. If students do not know more than half of the words and phrases in an article, it is impossible for them to translation the whole passage. At the same time, there are many differences between word order of English and Chinese. Due to the insufficient amount of English reading, it is difficult for students to get familiar with the English reading mode and grasp the main points of English translation, so it may lead the final translation to fail to convey the true meaning.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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3.2.2. Insufficient background knowledge &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not grasp sufficient background information. &lt;br /&gt;
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Under the influence of exam-oriented education, many Chinese students hope to get a good grade in exam and ignore that learning English is also for communication. They are only satisfied with finishing the English translation exercises assigned by teachers and seldom use English for daily communication or reading English works. And in this way, students do not gain sufficient background information. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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With the advent of the era of network, traditional translation objects, such as religious texts and the classics of social sciences, are out of the core status of translation activities and are gradually marginalized. Especially from the quantity of the objects, there are more and more literature references, business documents, documents of national governments and international organizations, which have increasingly become the mainstream of contemporary translation object. Various types of translation objects become big challenges for students’ knowledge. On the other hand, students pay much attention to language transfer and translation skills, but neglect the supplement of professional background knowledge.(Xie Zhentian, 2015) &lt;br /&gt;
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3.2.3. Neglect of theoretical knowledge&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）&lt;br /&gt;
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At present, when MA students are learning theoretical knowledge, most of them do not have a correct understanding of Translation Studies. They think that translation theory is useless to some extent or that previous translation theories is very perfect, so they cannot make any innovations in Translation Studies. However, learning Translation Studies is not to create a translation theory. The purpose is to improve students' theoretical awareness so as to establish their translation literacy. The academic master of Translation should focus more on verifying the validity of theories through the practice of translation.(Jiang Feifei 2019）--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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==='''4. Suggestions for the Learning of Translation Studies'''===&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved according to the development of times. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote the development of Translation Studies in China.&lt;br /&gt;
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In order to promote the development of Translation Studies, the training of translation talents is extremely important. Translation Studies as a discipline needs to be improved over time. The following will show the efforts we need to make from the perspectives of translation education and the students themselves, in order to better learn Translation Studies and promote Translation Studies in China.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.1. Translation Education&lt;br /&gt;
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4.1.1. Improve Teaching Mode&lt;br /&gt;
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The teaching model is an important basic guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation or current affairs. (Wang Baigula 2018)&lt;br /&gt;
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The teaching model is an important guarantee for cultivating interdisciplinary English translators. At present, colleges and universities should focus on the current social needs. Teachers should effectively integrate the curriculum with social reality in the teaching process, which can be based on the current social situation. (Wang Baigula 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to make something new. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)&lt;br /&gt;
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Similarly, the translation model has a very important impact on teaching arrangement. The rapid enrichment of theoretical horizons has put forward many new requirements for translation teaching. Therefore, translation teaching should also combine these needs to innovate. For example, many translation learning in China have begun to shift to the perspective of students' autonomous learning, rather than relying solely on teachers’ guidance or leading. This is a very good practice, and it also meets the new requirements of the times. (Ou Yonghua 2019)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching. This type of mode attaches great importance to the construction of learning environment and the value of teachers' guidance to students. This is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) &lt;br /&gt;
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The objective teaching method is a teaching mode that can be introduced in translation teaching,which attaches great importance to the construction of learning environment and the value of teachers' guidance to students. It is very important for translation learning. While diffusing students' interest in learning, it will also increase students' creative ability and thought diffusion. And through the current teaching equipment and teaching software to enrich the teaching content in the teaching process so as to improve the students’ learning efficiency.(Ou Yonghua 2019) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.1.2. Strengthen Faculty Force&lt;br /&gt;
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Teachers occupies a very important position in the training of talents, and at the same time, improving the quality and ability of the teaching team is also the most important thing when training talents. &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and first-line translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） &lt;br /&gt;
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Therefore, in view of the current low professional quality and ability of teachers in ordinary colleges and universities in China, first of all, colleges and translation teachers need to clarify the requirements for professional ability development, and strive to improve the professional quality of teachers (professional ethics and norms, lifelong learning), professional knowledge (linguistic culture and discipline knowledge, education theory) and professional ability (teaching design and implementation, teaching strategy, modern technology application, teaching reflection, scientific research, practice, testing and evaluation, digital scientific research and learning, data analysis);（Zhong Hewei 2019） --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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Secondly, at the beginning of the training of talents, it is possible to engage outstanding professional teams outside the school to communicate, so as to enhance the echelon construction of the school's teaching team, improve the teacher structure in the school, and devote to the comprehensive training of professional translators suitable for social development and needs. The cultivation of talents and the construction of teachers. (Wang Baigula 2018)&lt;br /&gt;
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4.1.3. Broaden the academic vision of translation&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of roadmap for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)&lt;br /&gt;
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Translation research is a booster for the development of the education of translation majors in the new era. In the future, Chinese translation research can still make breakthroughs in the following aspects. The first is to strengthen the research of translation theory, focusing not only on the grand theory of structural analysis and classification, but also on the micro-theories of specific phenomena and answering practical questions, and to reserve the prerequisite theoretical knowledge that needs to be solved for the establishment and development of the discipline, which carry out the provision of landmark for a comprehensive academic research of the discipline. (Lan Hongjun, 2018)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary and integration, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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The second is to innovate research methods and carry out disciplinary cooperation. At present, in the research of translation education, humanistic research is dominant, and empirical research is gradually increasing. Translation education involves many subjects such as pedagogy, psychology, and testing. With the continuous emergence of new research technologies and methods, and the increasingly obvious interdisciplinary, translation education research should be able to learn from interdisciplinary research methods, carry out interdisciplinary cooperation, and be good at using new technology and innovative research methods.(Mu Lei, Li Xixi 2019)&lt;br /&gt;
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4.2. Students &lt;br /&gt;
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The quality of translation talents plays a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.&lt;br /&gt;
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Translation talents play a very important role in the development of translation studies. Those who will be engaged in the field of translation should also work hard to improve themselves, expand their knowledge, earnestly study theoretical knowledge, and practice more.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.1. Expanding knowledge&lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future, in addition to having a solid foundation in language ability, they should also take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) &lt;br /&gt;
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Translation Studies is originally an interdisciplinary subject. Whether you are engaged in translation research or translation practice in the future, you need to expand your knowledge. For students studying translation studies, when they are learning translation theory, they also need to master the knowledge of linguistics, psychology, pedagogy, philosophy, etc., so as to integrate them with translation studies. For students who are going to be engaged in translation practice in the future.Not only should they have a solid foundation in language ability, but also they should take the initiative to continuously learn new knowledge with a broad perspective. They should not only focus on their major field, but also should grasp the knowledge of politics, economics, science and technology, history, geography, customs, etc. to strengthen their comprehensive language skills.(Xu Jun;Mu Lei 2009) --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability, specifically, refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students is urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)&lt;br /&gt;
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A very good way to expand their knowledge is to improve their search ability. Search ability refers to how translators use dictionaries, encyclopedias, search engines, corpora, grammar books, etc. to solve practical problems in translation. With economic globalization and various changes in the language service industry, the demand for non-literary translation has skyrocketed. Translators need to be exposed to translations in various forms (audio, video, website, etc.) and fields (mechanical, chemical, electrical, etc.), MTI students are urgent to learn certain professional background knowledge and increase the depth and scope of search to deal with more complex and difficult translation tasks. (Wang Na 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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4.2.2. Emphasize theory and practice more&lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics, not only the translation skills and theories，but also practice more. Theories that are out of practice cannot keep up with the development of the times. &lt;br /&gt;
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Knowledge comes from practice. Current translation theories provide many conveniences for this activity. In the process of translation practice, students can also verify the validity of these theories. However, students should not only understand the knowledge of linguistics and the skills and theories of translation，but also practice more. Theories that are out of practice cannot keep up with the development of the times. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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Students must spend enough time in practicing. They can go to the front line of production or go deep into all aspects of social life, and keep close contact with the masses in order to continuously broaden their horizons and know the society better. And then it is possible for them to analyze practical experience and conclude it into theory.(Lin lin 2016)&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the concept of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Those engaged in translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and so on. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. &lt;br /&gt;
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This chapter analyzes the current situation of Translation Studies as a discipline by reviewing the development process of Translation Studies in China. There are many factors that affect the learning of Translation Studies. Among them, from the perspective of translation teaching, in China, the objection of talent training is unclear, the faculty resource is insufficient, and the teaching structure is relatively simple. Therefore, translation education need to clarify the orientation of cultivating translation talents. At the same time, teachers should also improve their personal qualities, including their teaching ability and professional knowledge. In addition, research on translation education should also be emphasized, and exchanges and cooperation between the disciplines should be strengthened to conduct more effective translation learning and translation research. --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
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From the students’ point of view, those who major in translation must learn translation studies hard to contribute to the development of Translation Studies. However, many students did not work hard to learn their major, their basic skills are not wonderful, and their knowledge scope is relatively narrow. Some students do not have a correct understanding of translation studies. To become an excellent translator, students also need to spend time and energy to expand their knowledge range. At the same time, students also need to take translation theories seriously and learn it carefully, and then apply those theories to practice. In this way, they can also gain a lot of practical experience.&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies were not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)&lt;br /&gt;
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President Xi Jinping, asked” the majority of philosophy and social science workers to bravely stand on the forefront of the times, communicate the changes of the past and the present, and give the first signs of thought” (Xi Jinpin 2016). Looking back on the past decades, the achievements and independent status of Translation Studies are still not achieved overnight. They have condensed the unremitting exploration and hard work of many scholars, showing a development axis of independence, self-consciousness, self-reliance and self-confidence. Looking forward to the future, we hope that the successors of Translation Studies and translation majors can inherit the spirit of their predecessors in the grand vision of the development of Chinese language service industry in the new era, and keep the discipline mission in mind. (Zhong Weihe, Zhao Tianyuan 2020)--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, draw on the latest foreign translation theories, combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hopes that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.&lt;br /&gt;
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Based on China's social development practice and serving the national strategy, we can have dialogue with the international translation community, learn from the latest foreign translation theories, and combine the history and current situation of Chinese translation to further improve the translation discipline system, academic system and discourse system construction. And it also can promote the cultivation of translation talents. The author sincerely hope that the Chinese characteristics and Chinese style of Translation Studies can make contributions to the development of international translation studies.--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 05:48, 19 December 2020 (UTC)&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
Holmes, James S. (1972). The Name and Nature of Translation Studies. ''Papers on Literary Translation and Translation Studies''. 67–80.&lt;br /&gt;
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Bo Zhenjie, Li Heqin.薄振杰,李和庆.(2011).关于当前中国翻译教学研究的思考.[ Reflection on the Current Research of Translation Teaching in China].外语界[''Foreign Language World''] 76-83.&lt;br /&gt;
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Chen Cheng.陈诚. (2020).高校英语翻译课程教学现状及改革研究.[ Research on the Teaching Status and Reform of College English Translation Course].淮南职业技术学院学报[''Journal of Huainan Vocational &amp;amp;Technology''] 97-98.&lt;br /&gt;
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Chu Xizhi.褚喜之(2009).翻译理论在翻译教学中的重要性.[The Importance of Translation Theory in Translation Teaching].经济研究导刊[''Economic Research Guide'']237-238.&lt;br /&gt;
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Dong Qiusi.董秋斯.(1950).翻译批评的标准和重点.[ Criteria and focus of translation criticism].翻译通报[''Translation Bulletin''].&lt;br /&gt;
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Huang Youyi.黄友义.(2018).服务改革开放40年,翻译实践与翻译教育迎来转型发展的新时代.[Servicing Reform and Opening for 40 Years, Translation Practice and Translation Education Usher in a New Era of Transformation and Development].中国翻译[''Chinese Translators Journal'']5-8.&lt;br /&gt;
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Huang Zhongqian, Zhang Xiao.黄忠廉，张潇.（2020）.翻译学科百年:演进、反思与趋势.[ A Century of Translation Studies: Evolution, Reflection and Trend]. 上海翻译[''Shanghai Journal of Translators''] 1-6.&lt;br /&gt;
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Jiang Feifei.姜菲菲.(2019).中国文化走出去背景下对翻译学科的综述. [A Summary of Translation Studies from the Background of Outputting Chinese Culture].校园英语[''English Campus'']7-8. &lt;br /&gt;
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Lan Hongjun.蓝红军.(2018)从学科自觉到理论建构:中国译学理论研究(1987-2017). [Theoretically Oriented Translation Studies in China: 1987 - 2017].中国翻译[''Chinese Translators Journal'']7-16&lt;br /&gt;
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Linlin.林琳.(2016).英语文学翻译学习现状及改善措施.[ The Status Quo and Improvement Measures of English Literature Translation Learning].西部素质教育[''Western China Quality Education''] 65.&lt;br /&gt;
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Luo Feng.罗峰.(2011).从翻译学学科建设看翻译学在中国的发展.[On the Development of Translation Studies As A Discipline in China].琼州学院学报[''Journal of Qiongzhou University]''115-116.&lt;br /&gt;
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Mu Lei, Li Xixi.穆雷, 李希希.(2019).中国翻译教育研究:现状与未来.[ Research on Translation Education in China: Status Quo and Future] .外语界[''Foreign Language World''] 24-32.&lt;br /&gt;
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Ou Yonghua.(2019).新时期中国翻译教学研究思考概述. [An Overview of Researches on Chinese Translation Teaching in the New Era].课程教育研究[''Course Education Research''] 13.&lt;br /&gt;
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Xi Jinping.习近平.(2016).在哲学社会科学工作座谈会上的讲话.[ Speech at the Symposium on Philosophy and Social Sciences].新华网[xinhuanet].&lt;br /&gt;
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Xie Zhentian.谢天振.(2015).翻译巨变与翻译的重新定位与定义——从2015年国际翻译日主题谈起.[ Great Changes in Translation and Repositioning and Definition of Translation——Starting from the theme of the International Translation Day in 2015].东方翻译[''East Journal of Translation''] 4-8. &lt;br /&gt;
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Xu Jun, Mu Lei. 许钧, 穆雷.(2009).中国翻译学研究30年 (1978 -2007).[30 years of Chinese Translation Studies (1978 -2007)].外国语[''Journal of Foreign Languages'']77-87.&lt;br /&gt;
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Wang Baigula.王白古拉.(2018).中国翻译教学现状与复合型翻译人才培养. [The Status Quo of Translation Teaching in China and the cultivation of Interdisciplinary Translators].文存阅刊[''Wen Cun Journal''] 87.&lt;br /&gt;
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Wang Na.王娜. (2020).MTI在校生搜索能力不足成因分析. [An Analysis of the Causes of Insufficient Searching Ability of MTI Students].海外英语[''Overseas English''] 194-195.&lt;br /&gt;
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Zhong Weihe.仲伟合.(2019).改革开放40年我国翻译专业教育:成就、挑战与发展. [China Translation Education in the Past 40 Years of Reform and Opening Up: Achievements, Challenges and Development].中国翻译[''Chinese Translators Journal''] 68-75.&lt;br /&gt;
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Zhong Weihe, Zhao Tianyuan.仲伟合,赵田园.(2020).中国翻译学科与翻译专业发展研究（1949-2019).[ Research on the Development of Chinese Translation Discipline and Translation Major (1949-2019)].中国翻译[''Chinese Translators Journal''] 79-86.&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==                                            &lt;br /&gt;
&amp;lt;center&amp;gt;周玉娟	Zhou Yujuan 202020080674 亚非语言文学波斯语方向  .&amp;lt;/center&amp;gt;&lt;br /&gt;
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&amp;lt;center&amp;gt;The influence of translator's cultural identity on translation.&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Liang Shiqiu and Zhu Shenghao are both outstanding representatives of Shakespeare's plays translated in 20th century Chinese literature. Zhu Shenghao lived in a time of war and turmoil , and lived a hard and poor life , so his translations were both imbued with deep patriotism, and his translations were based on naturalization strategies. As a scholar who returned from overseas studies, Liang Shiqiu believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the translation process with the purpose of spreading the culture of foreign countries.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
translation; translator; cultural identity; Shakespeare's plays&lt;br /&gt;
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===题目===&lt;br /&gt;
译者文化身份对翻译的影响&lt;br /&gt;
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===摘要===&lt;br /&gt;
梁实秋和朱生豪都是20世纪中国文学界翻译莎士比亚戏剧的杰出代表人物。朱生豪生活在战火纷飞，动荡不安的年代，生活过得很艰苦和贫困，所以他的翻译中都蕴含了深深的爱国主义情怀，翻译以归化策略为主。梁实秋作为海外学成归来的学者，认为文学是天才创作的。所以他以传播异国的文化为目的，在翻译过程中采取了异化策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；译者；文化身份；莎士比亚剧&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Translating a work is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important active role in both translating the content and interpreting it, and the translator is the first person who is in direct contact with the original text.&lt;br /&gt;
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Translating a work that is a re-recognition and re-expression of what the translator knows and transmits. On the one hand, the translator transmits the content of the original author, and on the other hand, the translator also incorporates his or her own interpretation and understanding into it. In traditional translation studies, whether the translation is faithful to the original work is the key criterion to measure the goodness of a translated work, and it is also an important criterion to judge a translator's qualification or otherwise. (Many. 2018: 85) Therefore, the translator plays an important role in both translating and interpreting, and the translator is the first person who is in direct contact with the original text.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 14:49, 18 December 2020 (UTC)&lt;br /&gt;
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Benjamin, the famous German literary critic, once said : &amp;quot;In any discussion of translation, the traditional concept always revolves around fidelity and freedom: that is, the freedom to reproduce the original faithfully and the fidelity to the original in the reproduction.&amp;quot; (Benjamin. 1968/2004: 20) However, in the process of translation, besides being faithful to the direct expression of the original, translators also have their own translation characteristics and strategies. The issue of &amp;quot;cultural identity&amp;quot; has also received more and more attention. (Fu, Wenhui. 2011: 16)&lt;br /&gt;
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There have been many Chinese translations of Shakespeare's plays in China, among which Zhu Shenghao and Liang Shiqiu are both classic representatives of Shakespeare's plays in translation. However, they differ in many aspects such as the purpose of their respective translations, translation styles, and translation contents. The reason for this is that the influence of their cultural identities on their translations cannot be ignored. This paper will try to explore the influence of their respective cultural identities on the translation purposes and translation contents by comparing their cultural identities and the social and cultural backgrounds in which they lived, so as to provide guiding inspirations and suggestions for translation practice activities.&lt;br /&gt;
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=== Introduction to the identity of the translator===&lt;br /&gt;
Translators are also readers, however, they act as readers in a special sense; the ultimate goal of a translator is not to read and understand the original text, but to convey the original text he reads by interpreting it in another linguistic symbol (Wu Delu. 2016:211). Both Liang Shiqiu (1903-1987) and Zhu Shenghao (1912-1944) were famous translators of Shakespeare in China in the twentieth century, and their translations have stood the test of time. The contributions that Liang Shiqiu and Zhu Shenghao made to the Chinese literary world are well known.&lt;br /&gt;
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Cultural identity, or cultural identity, (Wang Ning. 1999:45) mainly includes a nation, group or individual's sense of identity with its own culture and perception of self-image,( Wang Zhenping. 2017:68) which is characterized by the fact that cultural identity carries the self-identified and recognized cultural characteristics of a certain group, and the manifestation of these characteristics in group members varies in strength and weakness depending on the objective environment. Cultural identity is expressed through the way people communicate, interpersonal relationships, and behavioral norms (Liu Shuang. 2000:90), and it is stable and fluid.&lt;br /&gt;
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(While your first quote here may be intended to explain to the reader where the concept of cultural identity came from, I suggest you explain the meaning of the concept proposed by the cited author.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;Although Liang Shiqiu and Zhu Shenghao are both known in contemporary times, they are different in terms of translation purpose, style, technique, and even phrasing, forming two different schools of Shakespeare translation in China.&amp;quot; (Xi Yongji. 2007:245)&lt;br /&gt;
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====Zhu Shenghao's Cultural Identity====&lt;br /&gt;
Zhu Shenghao is a famous translator. He was born on February 2, 1912, in Jiaxing, Zhejiang Province, to a family of small, declining merchants. Zhu Shenghao began to translate Shakespeare in 1935, but the translation process was difficult and the conditions were tough (the Japanese attacked Shanghai in 1937 and the city was in flames. Zhu Shenghao's house was burned down by the Japanese, and he escaped with the Oxford edition of the complete works of Shakespeare and some of his translations. (Most of his translations were burned by the Japanese.) However, he persisted in his translation career and devoted himself to it, eventually leaving us forever in 1944 due to lung disease from overwork.&lt;br /&gt;
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In less than ten years, he translated a total of thirty-one and a half Shakespeare plays with amazing perseverance and talent. Later, his wife, Song Qingyu, compiled all his translations and passed them on to the World Book Bureau in Shanghai, which published The Complete Works of Shakespeare in the fall of 1947. Many Shakespeare researchers could not believe that the Chinese could write such a high quality translation. It is easy to see that his remarkable talent was recognized both at home and abroad.&lt;br /&gt;
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Throughout the above, Zhu Shenghao lived in a time of war and turmoil, experienced the May Fourth Movement and other tides, and his translations were imbued with a deep sense of patriotism, so his translation of Shakespeare's plays was based on naturalization strategies. (Yan Xiaojiang. 2010: 95) As a patriotic young man, he longed for China to be understood and to transmit and promote Chinese culture. The so-called naturalization means that the language and culture are the main focus, which ensures the fluency of the translation, reduces the strangeness of the original text, and allows the target language readers to better understand the original text.&lt;br /&gt;
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（Be clear about what exactly domestication or foreignization in your text means and who defines it. Use word “domestication” instead of “naturalization”in general.）--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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====Liang Shiqiu's Cultural Identity====&lt;br /&gt;
Liang Shiqiu, whose original name was Zhihua, was born in Beijing. He was a famous Chinese modern and contemporary essayist, scholar, literary critic, translator, and the first authority on Shakespeare in China. He studied at the English Department of the University of Colorado, Harvard University and Columbia University Graduate School.&lt;br /&gt;
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However, it is worth mentioning that Liang believes that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; &lt;br /&gt;
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However, it is worth mentioning that Liang believed that literature is a creation of genius. Liang repeatedly said, &amp;quot;All civilization is the original creation of a very few geniuses&amp;quot;, &amp;quot;literature and art are the original creation of a few geniuses&amp;quot;, &amp;quot;there is no literature and art for the majority, and literature and art are not for the majority &amp;quot;. (Liang Shiqiu: R.O.C. 23) &amp;quot;The highest art can only be understood by a few ...... Art has its own many grades, so the appreciation of art also has many grades.&amp;quot; --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
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As for the satisfaction of the literary and artistic requirements of the general public, Liang Shiqiu arranged for them the arts such as story-telling and popular literary works, because their knowledge could only understand such works and they were only interested in such arts, as for the great works of art, like Shakespeare's plays, that naturally only the great artists could appreciate and appreciate them. Liang Shiqiu's mistake was to exaggerate the role of heroic figures such as geniuses and completely ignore the role of the general public in the creation and reception of art. (Wang Qili. 2004: 12)  &lt;br /&gt;
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We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese literary world. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.&lt;br /&gt;
&lt;br /&gt;
We can see that Liang Shiqiu was a scholar who returned from overseas, but he advocated &amp;quot;genius literature&amp;quot; and ignored the role of the people in art and culture. Liang Shiqiu began his translation of Shakespeare in 1930, and it took him nearly 40 long years to complete the translation of this masterpiece, which had a profound impact on the Chinese translation. (Zhou Li. 2016:30) At the same time, his literary thought was largely influenced by Western classicism and neo-humanism, so when translating, he mostly adopted the strategy of alienation.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Foreignization and domestication Strategies====&lt;br /&gt;
According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). (Venuti, 1995:20)&lt;br /&gt;
&lt;br /&gt;
According to Venuti, domestication is &amp;quot;bringing the original author into the desired language and culture of the translation&amp;quot;, while dissimilation is &amp;quot;accepting the linguistic and cultural differences of the foreign work and bringing the reader into the foreign situation&amp;quot; (Venuti, 1995:20). --[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Domestication means to localize the original language, to take the target language or the readers of the translation as the home, and to adopt the expressions that the target language readers are accustomed to in order to convey the content of the original. The translator is required to get closer to the readers of the target language, and the translation must become an authentic national language. This method helps readers understand the translation better and enhances the readability and appreciation of the translation.&lt;br /&gt;
&lt;br /&gt;
The method of Foreignization is: &amp;quot;the translator does not disturb the author as much as possible, so that the reader moves closer to the author&amp;quot;. In translation, it means absorbing the expressions of foreign languages, requiring the translator to draw closer to the author and adopt the expressions corresponding to the source language used by the author to convey the content of the original text, that is, to take the language and culture of the original text as the home. Centering on the language and culture of the original language, the cultural characteristics and exoticism of the original language are preserved as much as possible; (Yan Xiaojiang. 2010: 95) Using the strategy of Foreignization helps readers better appreciate the differences in national culture, national characteristics and exotic elements such as language style features.&lt;br /&gt;
(Here you used foreignization ,but above the paper,you use alienation,The specific concepts of context should be unified.)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The cultural identity of translators in translation===&lt;br /&gt;
First, the translator is the second pair of eyes of the reader. &amp;quot;For most readers who do not understand the original work, (the translator's interpretation) is the only way to enter the world of the original work&amp;quot; (Xu Jun 2014: 220). Therefore, the translator's performance in translation is directly related to the reader's acceptance. Moreover, under the translator's subjective role, &amp;quot;the flower of life of the original work gains a continuous, up-to-date and most flourishing opening in the translation&amp;quot; (Ben-jamin 1968/2004: 20). The translator is, in turn, the bearer and transmitter of the author's work. A translator's contribution is unquestionable if his or her translation is recognized by the public or the academic community.&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu's and Zhu Shenghao's translations have their own strengths, Liang's for scholars to study, Zhu's for the popularization of Shakespeare's works, and both translations interpret classic literary works from different perspectives. (Yan Xiaojiang. 2010:98) But both have made great contributions to world literature.&lt;br /&gt;
(Here world literature is not very accurate, maybe you can say world translation)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
====In terms of the original intention of translation====&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao himself said, &amp;quot;I love Shakespeare's plays so much and so only that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's love for Shakespeare is so strong that &amp;quot;He was so passionate about Shakespeare that he would not stop reading Shakespeare, not eating it. &lt;br /&gt;
&lt;br /&gt;
The reasons for Zhu Shenghao's translation of Shakespeare have also been explored, and all of them agree that personal interest, patriotic thought, dedication and financial embarrassment were the main motivations for his translation of Shakespeare. Here, we prefer to consider &amp;quot;interest&amp;quot; as the primary motivation. (Qiu Yunchen. 2010:591) Zhu Shenghao said, &amp;quot;I love Shakespeare's plays so much so that I have tried to read the whole text at least ten times from the beginning to the end. ......&amp;quot; Zhu's preference for Shakespeare is so obvious that &amp;quot;He was so passionate about Shakespeare that he would not stop reading and studying Shakespeare assiduously.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In addition, because Zhu Shenghao was born in an ordinary family and his parents died at an early age, his life was difficult, and he mentioned in his translations that he had to pay for translating Shakespeare's plays. Economic reasons also drove his perseverance in translating, and furthermore, Zhu Shenghao lived in a time of war and experienced the May Fourth Movement and other fashions, and his translations contained deep patriotism, a desire for China to be understood and to transmit Chinese culture. This patriotic sentiment also inspired his determination to translate Shakespeare's plays.&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu believes that there is a distinction between elegant and vulgar literature, genius is to appreciate literature, the general public to read are popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;the highest art only a few people can understand ......, literature and art is not the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu believed that there is a distinction between elegant and vulgar literature, genius always appreciate literature, the general public usually read popular literature. In Liang Shiqiu's view, not only the subject of creation can only be a very small number of geniuses, that is, the appreciation of literature is also the patent of a very small number of talented people, &amp;quot;only a few people can understand the highest art ......, literature and art is not for the majority.&amp;quot; (Liang Shiqiu. 1988:117). According to Liang Shiqiu, &amp;quot;literature is created by genius&amp;quot;.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
When he studied at Harvard University, he took the course &amp;quot;Literary Criticism after the Sixteenth Century&amp;quot; by the American neoclassicist Byrd Byrd, and was greatly influenced by Western humanist thought in literary thought and the Western cultural environment, so he set out to translate Shakespeare's plays with the aim of spreading the idea of foreign culture. Liang Shiqiu's translation of Shakespeare aimed to &amp;quot;preserve the most authentic things&amp;quot; and to convey the author's meaning visually. Liang Shiqiu's translation of Shakespeare was very faithful to the original text, and his opposition to &amp;quot;hard translations&amp;quot; and &amp;quot;bent translations&amp;quot; shows that he advocated faithfulness and fluency in translation. (Xiao Li. Li Xiaoying. 2012:95)&lt;br /&gt;
(Here maybe you want to say Irving Babbitt not Byrd, plz check it again)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:26, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====In terms of the content of the translation (taking the translation of Shakespeare as an example)====&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;My aim in translating this book is, first, to maintain the charm of the original work to the greatest extent possible, and then to consider the second point if it is not feasible, that is, to convey faithfully the meaning and feelings of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao's translation of Sha plays more attention to the performance function of drama.&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao stated at the beginning of his translation: &amp;quot;In translating this book, my aim is  to maintain the charm of the original work as much as possible, and then to consider the second point if it is not feasible, that is, to convey the meaning and feelings faithfully of the original text in simple and easy-to-understand sentences; but I dare not agree with the rigid translation of word-by-word comparison.... I would like to be a reader and check the translation for any ambiguities. I must also pretend to be an actor on the stage, and examine whether the tone of speech is smooth and whether the syllables are in tune. It often takes days to think hard about a word or phrase that is not agreeable.&amp;quot; (Zhu Shenghao. (2010:36) This shows that Zhu Shenghao paid more attention to the performance function of drama in translation of Shakespeare’s plays.--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example: ( the translation of Zhu Shenghao)&lt;br /&gt;
&lt;br /&gt;
EGEUS: Stand forth，Demetrius． My noble lord，&lt;br /&gt;
伊吉斯:走上前来，狄米特律斯。殿下，这个人，&lt;br /&gt;
&lt;br /&gt;
This man hath my consent to marry her．&lt;br /&gt;
是我答应把我女儿嫁给他的&lt;br /&gt;
&lt;br /&gt;
Stand forth，Lysander．&lt;br /&gt;
走上前来，拉山德。&lt;br /&gt;
&lt;br /&gt;
And，my gracious Duke， This man hath bewitched the bosom of my child．（莎士比亚.2011：22）&lt;br /&gt;
殿下，这个人引诱坏了我的孩子 （朱生豪. 2013：9）&lt;br /&gt;
&lt;br /&gt;
In addition, influenced by traditional Chinese moral and ethical thinking, when obscene words and indecent phrases appeared in the original text, Zhu Shenghao basically &amp;quot;purified&amp;quot; or arbitrarily rewrote them, or simply deleted them without translation. Perhaps it is also the fact that his translations conform to the requirements of Chinese moral culture that makes his works so well-received. The advertisement published by World Bookstore clearly states two sentences: &amp;quot;The original text is brilliant, a treasure of world literature ornaments; the translation is beautiful and fluent, keeping the charm of the original work. &lt;br /&gt;
For example, his translation.	&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent． (Ⅲ．ⅱ) (莎士比亚.2011:110)&lt;br /&gt;
&lt;br /&gt;
拉山德:放开手，你这猫! 你这牛蒡子! 贱东西，放开手!&lt;br /&gt;
否则我要像摔掉身上一条蛇那样摔掉你了(莎士比亚．2013:117 )。&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu believed that translation should be faithful to the original text, so his translation content can be summarized as &amp;quot;faithfulness and fidelity&amp;quot;. The style of &amp;quot;faith&amp;quot; and &amp;quot;faithfulness&amp;quot; has been developed. (Li Jiawei/Hui Lijun. 2017:75) Because of this faithfulness, Liang Shiqiu believed that any arbitrary rewriting or deletion of the original work would be unfaithful to the work, and that the vulgar language in Shakespeare's plays has its specific role in portraying characters and increasing the stage effect. Therefore, he kept the obscene words in the original text intact in the translation process.&lt;br /&gt;
&lt;br /&gt;
First: Stay true to the original text and try not to delete or subtract from it.For example:&lt;br /&gt;
&lt;br /&gt;
LYSANDEＲ: Hang off，thou cat，thou burr! Vile thing，let loose，Or I will shake thee from me like a serpent.(Ⅲ.ⅱ)(莎士比亚.2001:110)&lt;br /&gt;
&lt;br /&gt;
Translation of Liang Shiqiu:&lt;br /&gt;
&lt;br /&gt;
赖,走开，你这个猫，你这个缠人的东西! 下流的东西，松手，&lt;br /&gt;
&lt;br /&gt;
否则我要把你像是毒蛇一般的甩开(莎士比亚.梁实秋译2001:110)。&lt;br /&gt;
&lt;br /&gt;
HELENA She was a vixen when she went toschool: &lt;br /&gt;
&lt;br /&gt;
And though she be but little，she is fierce．(Ⅲ． ⅱ) (莎士比亚.梁实秋译2001:116)&lt;br /&gt;
&lt;br /&gt;
海 上学时她就是个狐狸精。&lt;br /&gt;
&lt;br /&gt;
她虽然身材小，她很凶(莎士比亚.梁实秋译2001: 117) 。&lt;br /&gt;
&lt;br /&gt;
Second, Liang Shiqiu's translations retain the punctuation of the original texts (Li Jiawei/Hui Lijun. 2017:75) Liang believes that retaining punctuation makes the translations more &amp;quot;Shakespearean&amp;quot;. &amp;quot;The punctuation used by Shakespeare may seem less formal, but in fact it is a self-contained system, designed to point out the effect of intonation when the actors recite their lines. Based on this clarification, I then decided to preserve as much of Shakespeare's original punctuation as possible in a text, with the result that where there is an original sentence, there is a translation&amp;quot;. (Liang Shiqiu. 1966) &lt;br /&gt;
Therefore, Liang Shiqiu's translation of Shakespeare pays more attention to the literary function of drama and more attention to the stage function of literature. &lt;br /&gt;
&lt;br /&gt;
For example, a fragment of Liang Shiqiu's translation of Hamlet.&lt;br /&gt;
&lt;br /&gt;
Queen. There is a willow grows aslant a brook,&lt;br /&gt;
That shows his hoar leaves in the glassy stream;&lt;br /&gt;
There with fantastic garlands did she come,&lt;br /&gt;
Of crow-flowers, nettles, daisies, and long purples,&lt;br /&gt;
That liberal shepherds give a grosser name.&lt;br /&gt;
But our cold maids do dead man’s fingers call them:&lt;br /&gt;
There, on the pendent boughs her coronet weeds&lt;br /&gt;
Clambering to hang ,an envious sliver broke,&lt;br /&gt;
When down her weedy trophies and herself&lt;br /&gt;
Fell in the weeping brook. Her clothes spread wide;&lt;br /&gt;
And, mermaid-like, awhile they bore her up;&lt;br /&gt;
Which time she chanted snatches of old tunes; As one&lt;br /&gt;
incapable of her own distress,&lt;br /&gt;
Or like a creature native and indu’d&lt;br /&gt;
Unto that element: but long it could not be&lt;br /&gt;
Till that her garments ,heavy with her drink,&lt;br /&gt;
Pull’d the poor wretch from her melodious lay&lt;br /&gt;
To muddy death.&lt;br /&gt;
（shakespeare, hamlet, act Ⅳ, scenceⅦ）&lt;br /&gt;
&lt;br /&gt;
The translation of Liang Shiqiu：&lt;br /&gt;
(You can say Liang’s version :)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:36, 18 December 2020 (UTC)&lt;br /&gt;
河边有一株斜长着的杨柳，白叶倒映在玻璃似的流水里；他就来到那个地方，拿着些奇异的花圈，扎的是毛莨、荨麻、延命菊，以及粗野牧人呼之不雅之名而纯洁女郎都呼为“死人指”的紫兰。 就在那里，她爬上树枝想去挂她的花圈，无情的枝子断了；她的花圈和她自身于是坠入呜咽的河流。 她的衣服展开，像是鲛人似的，把她浮上来一会儿，这时节她唱了几句古歌，好像不知自身痛苦似的，又好像是水下生长的动物似的；但是这情形没有多久，她的衣服湿透就变重了，于是把这可怜的人儿于曼声高唱中扯到污泥的死所去了。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
The translator's cultural identity is impressed by various factors such as the different backgrounds of the translator's life and the different cultural ideas he or she has received, and this identity is present in the translator's translation works almost all his or her life. In other words, the translator's cultural identity has a great and lasting influence on the choice of his or her translation strategy, and it can also be said that readers can learn the translator's cultural identity through his or her translation works. &lt;br /&gt;
&lt;br /&gt;
For example, Zhu Shenghao, who lived in the era of constant war, had a deep patriotic feeling. So he wanted China to be understood by the world or more countries, to be able to transmit and carry forward Chinese culture. In addition, he was influenced by the deep-rooted moral and ethical thoughts of traditional Chinese culture, so he adopted a naturalization strategy in the translation process. However, looking at the translator Liang Shiqiu again, as a scholar who returned from studying in the West, he received the idea of Western humanism, and in addition, he believed that literature was created by genius. Therefore, he adopted the strategy of alienation in the process of translation with the aim of spreading foreign culture, and translated the original text word by word, sentence by sentence, and presented it to the readers without evasion. &lt;br /&gt;
&lt;br /&gt;
By briefly exploring the cultural identities and translation ideas of the two translators, we can see that both of them have their own merits, but also their own disadvantages. Throughout the contemporary era, the phenomenon of cultural globalization is also increasing, and most of the excellent works have been translated into multiple languages and spread, but for the translators, we should learn from the advantages of the previous translators, but that is, we should combine the East and the West, and master the translation skills to maintain the content of the original text to the greatest extent and ensure the accuracy of the text.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Fu Wenhui付文慧．多重文化身份下之戴乃迭英译阐释［The Interpretation of Dai Naidian's English Translation under Multiple Cultural Identities］中国翻译[ Chinese Translation]，2011，32(6):16—20．&lt;br /&gt;
&lt;br /&gt;
Yan Xiaojiang严晓江． 梁实秋与朱生豪莎剧译文特点之比较[A Comparison of the Characteristics of Liang Shiqiu's and Zhu Shenghao's Translations of Shakespeare]南通大学学报(社会科学版)[Journal of Nantong University (Social Science Edition)，2010，26(4)&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋. 翻译莎士比亚[M]//梁实秋. 莎士比亚诞辰四百周年纪念集. [Translation of Shakespeare by Liang Shiqiu. Shakespeare's 400th anniversary].  台湾: 中华书局[Taiwan:Zhong-Hua Book Bureau].1966.&lt;br /&gt;
 &lt;br /&gt;
Qiu Yuchen.邱蕴琛. 小议朱生豪译莎动因[A small discussion on the motivation of Zhu Shenghao's translation of Sha].科技信息[Science and Technology Information].2010,(07):448-591.&lt;br /&gt;
          &lt;br /&gt;
Zhou Wen周文. 朱生豪翻译观探微 [An exploration of Zhu Shenghao's concept of translation].科技信息(科学教研) [Science and Technology Information (Science Education and Research)].,2007,(22):127-128..  &lt;br /&gt;
&lt;br /&gt;
Xi Yongji奚永吉 . 莎士比亚翻译比较美学 [Comparative aesthetics of Shakespeare translation ] 上海：上海外语教育出版社[Shanghai: Shanghai Foreign Language Education Press].2007.&lt;br /&gt;
  &lt;br /&gt;
Wu Delu.吴得禄.译者文化身份对翻译的影响[The influence of translators' cultural identity on translation].读书文摘[Reading Digest].2016(08):211.&lt;br /&gt;
&lt;br /&gt;
Wang Ning王宁．文学研究中的文化身份问题[Cultural Identity in Literary Studies] 外国文学[Foreign Literature].1999(4):48—51．&lt;br /&gt;
&lt;br /&gt;
Liu Shuang刘双．文化身份与跨文化传播[Cultural identity and cross-cultural communication]外语学刊[Journal of Foreign Languages]，2000(1):87—91．&lt;br /&gt;
&lt;br /&gt;
Wang Qili王岐立．梁实秋文学思想浅析：[An analysis of Liang Shiqiu's literary thought]:中山大学研究生学刊 [Graduate Journal of Sun Yat-sen University].2004&lt;br /&gt;
&lt;br /&gt;
Zhu Shenghao 朱生豪.译者自序[Translator's Preface].文学界(专辑版)[Literature (album edition)].2010(09):36.&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚 四大喜剧 梁实秋译[The Four Great Comedies translated by Liang Shiqiu].北京:中国广播电视出版社.[Beijing: China Radio and Television Press].2001&lt;br /&gt;
&lt;br /&gt;
Shakespeare.莎士比亚． 仲夏夜之梦 朱生豪译．[A Midsummer Night's Dream translated by Zhu Shenghao].上海:上海世界图书出版公司 [Shanghai: Shanghai World Book Publishing Company],2013．&lt;br /&gt;
&lt;br /&gt;
Liang Shiqiu.梁实秋 文学与革命.偏见集[Literature and Revolution. The collection of prejudices].南京:正中书局[Nanjing: Zhengzhong Shuji].中华民国二十三年七月.&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
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In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
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=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
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Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
Li Hongman 李红满. (2002). 论当代西方翻译研究范式的转变[J]. [On the Paradigm Shift in Contemporary Western Translation Studies]. 外语与翻译. [Foreign Languages and Translations]. &lt;br /&gt;
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Zhang Meifang 张美芳. (2000). 翻译学的目标与结构——霍姆斯的译学构想介评[J]. [The Objectives and Structure of Translation Studies - A Review of Holmes' Vision of Translation Studies]. 中国翻译. [China Traslation].&lt;br /&gt;
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Toury Gideon. (2001). ''Descriptive Translation Studies and Beyond''[M]. Shanghai:Shanghai Foreign Language Education Press.&lt;br /&gt;
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Lin Kenan 林克难. (2001). 翻译研究:从规范走向描写[J]. [Translation Studies: From Specification to Description]. 中国翻译. [China Traslation].&lt;br /&gt;
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Vermeer Hans J. (1996). A Skopos Theory of Translation[M]. Heidellburg:TEXT-con.&lt;br /&gt;
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Venuti Lawrence. (1995). The Translator’s Invisibility[M]. A History of Transla-tion.London&amp;amp;New York:Routledge.&lt;br /&gt;
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Snell-Homby Mary. (1995). Translation Studies.AnIntegrated Approach[M]. Re-vised ed.Amsterdam:John Benjamins.&lt;br /&gt;
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Hemans Theo (1985). ed.The manipulation of Literature[M]. London&amp;amp;Sydney:Croom Helm.&lt;br /&gt;
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Han Ziman, Liu Fang 韩子满, 刘芳. （2005）. 描述翻译研究的成就与不足[J]. [Describe the achievements and shortcomings of translation studies]. 外语学刊.  [Journal of Foreign Languages].&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M]. [New Horizons in Translation Studies]. 青岛:青岛出版社. [Qingdao:Qingdao Publishing House].&lt;br /&gt;
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==An overview of descriptive translation studies and its relationship with normative translation studies 肖伊宁 Xiao Yining==&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655&amp;lt;/center&amp;gt;&lt;br /&gt;
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&amp;lt;center&amp;gt;肖伊宁 Xiao Yining 202020080655 亚非语言文学&amp;lt;/center&amp;gt;--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Abstract:=== &lt;br /&gt;
This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and deeply understand the status of descriptive translation studies.&lt;br /&gt;
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This paper introduces the influence and contribution of James Holmes, Gideon Toury and others on the development of descriptive translation studies. It also discusses the positive significance of descriptive translation research paradigm in the field of translation studies and its limitations. The purpose of this paper is to make readers understand the necessity of descriptive translation study by summarizing its development process and advantages. Meanwhile, by analyzing the relationship between descriptive translation studies and normative translation studies, this paper refutes the views that descriptive translation studies and normative translation studies are mutually exclusive, and helps the readers to understand deeply the status of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===摘要：===&lt;br /&gt;
本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，深刻理解描写性翻译研究的地位。&lt;br /&gt;
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本文介绍了詹姆斯·霍姆斯（James Holmes）、图里（Gideon Toury）等人对于描写性翻译研究产生与发展的影响和贡献.同时论述了描写性翻译研究范式对于翻译学研究领域的积极意义和它的局限性。意在通过概述其发展历程和优点让读者了解描写性翻译研究的必要性，同时又通过剖析描写性翻译研究和规范性翻译研究的关系，反驳那些把描写性翻译研究和规范性翻译研究互斥的观点，并深刻理解描写性翻译研究的地位。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words:===&lt;br /&gt;
descriptive translation studies; normative translation studies; limitation; necessity; relationship.&lt;br /&gt;
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===关键词：===描写性翻译研究；规范性翻译研究；局限性；必要性；关系.&lt;br /&gt;
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===Chapter 1 Introduction===&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities of translation, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives has led to the formation of diverse translation research methods.（Liao Qiyi 2002，5）&lt;br /&gt;
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Translation has a history of more than 2000 years. In the long-term and varied translation activities, People have more and more ideas about translation and produced many specific translation theories. For the sustainable development of theories, scholars of different schools in different periods have conducted their own studies on translation from different perspectives. The accumulated research experience from different research perspectives have contributed to the formation of diverse translation research methods.（Liao Qiyi 2002，5）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of the experience in translation practice. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）&lt;br /&gt;
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Before the appearance of descriptive translation studies, translation theories tended to be normative both in China and abroad. At the beginning, most of them are inductive summaries of tranlation experience. Taking early Translation theories in China as examples, they sumer up the practical experience of translation into famous sayings, which can be used to guide the translation activities of later generations. Such as Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, Lu Xun's &amp;quot;rahter to be faithful than smooth&amp;quot; and Lin Yutang's &amp;quot;faithfulness smoothness elegance&amp;quot;. （Liao Qiyi 2002，6）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the study of translation has become more systematic. Some researchers regard translation as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) &lt;br /&gt;
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In the second half of the 20th century, with the development of linguistics and applied linguistics, the translation study has became more systematic. Some researchers regard translation study as a branch of linguistics. For example, Catford defined translation as replacing textual materials in another language with equivalent materials in one language. Therefore, translation researchers began to use some basic principles of linguistics to describe the translation process and evaluate the translated works. For example, Newmark summarized seven methods of translating metaphors from some specific language structures and phenomena in the source language. (Catford 1965，20) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered &amp;quot;misleading readers&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements for translation theories are becoming more and more diverse. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)&lt;br /&gt;
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However, these translation studies are actually &amp;quot;normative&amp;quot;. They all stipulated some norms that all translators should follow in their translation practice regardless of the era, the working objects and the cognitive environment of translators and readers. If you do not follow these norms, you will be considered as &amp;quot;misleading reader&amp;quot; or &amp;quot;unfaithful to the original work&amp;quot;. Before the 1950s, normative translation theories were highly praised, which were basically unshakable guidelines in the field of translation. However, with the increasing frequency of cross-cultural international communication and the increasing number of translation activities, the requirements on translation theories varied all the time. Translation practice needs new theories. People gradually realized that normative translation theories can not solve the various problems encountered in translation activities. Therefore, translation researchers began to pursue the study of translation in the era, and descriptive translation studies came into being.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 2 The emergence and development of descriptive translation studies===&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.&lt;br /&gt;
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In the 1990s, descriptive translation studies began to rise in foreign countries, but this research method was not formed suddenly. Before that, many scholars pointed out the necessity of descriptive translation studies and the specific assumptions of descriptive translation studies. These assumptions are the solid foundation for the establishment of descriptive translation research method and also the reason for the rapid development of descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.1 John MacFarlane====&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the ''Durhram University Journal''. In the thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that even reading the same work at the same time often has different reading methods.From this we can infer that we must not believe that there is a unique translation. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)&lt;br /&gt;
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In 1953, John MacFarlane published his paper ''Mode of Translation'' in the Durhram University Journal. In his thesis, MacFarlan believes that it is a wrong criticism and comment to deny the role of translation and deprive some translation methods of the right to call themselves translation, just because the translation does not realize the equivalence with the original in all aspects. Macfarlane also cites I.A. Richards' view in ''The Principles of Literary Criticism'' that there are often different reading methods when reading the same work even at the same time.From this we can infer that we must not believe that there is a unique translated version. Since the original text has different meanings, it is inevitable that different translations will emerge from it . All translated works can be called translation, but none of them is &amp;quot;ideal&amp;quot; or &amp;quot;real&amp;quot; translation.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic.Unfortunately, MacFarlane's views did not attract the attention of the field of translation at that time.(Lin Kenan 2001, 44)&lt;br /&gt;
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Macfarlane believes that since translation is so complex and elusive, it is impossible for us to draw an absolute standard for accurate translation. But he also called on translation researchers to find a new way to study translation. This new approach should accept the existing translation rather than the one we idealize. It should draw inspiration from the study of the nature of translation, rather than let translation do something that it can't do. This is obviously a call for another kind of translation study. Although it does not clearly point out the new way of translation study, it points out that the existing translation research is incomplete and idealistic. Unfortunately, MacFarlane's views did not attract the attention translation field at that time.(Lin Kenan 2001, 44)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.2 Firth====&lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and the traditional distinction between literal translation and free translation is the product of this concept. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context.Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) &lt;br /&gt;
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Since the 1970s, the traditional research on the semantic relationship between the original text and the target text began to decline. For a long time, it has been widely believed that translation should first be the transformation of meaning, and this concept has produced the traditional distinction between literal translation and free translation. Researchers have begun to challenge this concept and propose to study translation from the perspective of context. Firth is one of the early researchers who pointed out that the structure and system of language should be combined with the structure and system in context. Baker believes that the change from meaning to usage or from concept to environment has promoted the development of descriptive translation studies in general, especially the corpus studies of descriptive translation studies.(Baker 1995, 236-240) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.3 James Holmes====&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his book ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）&lt;br /&gt;
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With regard to research methods, scholars have been dissatisfied with the traditional introspective approach to translation studies since the 1970s. James Holmes points out that the weakness and naivety of most contemporary translation theories are caused by introspective research methods. Researchers should investigate functional authentic texts. As the founder of the school of Translation Studies, Holmes pointed out the scope and structural mode involved in the new field of translation studies in his ''The Name and Nature of Translation Studies''(1972). He believed that the research object of translation studies was the translation that appeared in a certain culture, and the research method was practicing on the basis of experience.(Holmes 1988, 101）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54） &lt;br /&gt;
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&amp;quot;He divides translation studies into three categories:&lt;br /&gt;
(1) Description: to describe the special phenomenon of translation in real life;&lt;br /&gt;
(2) Theory: establishing the principle of explaining translation phenomena;&lt;br /&gt;
(3) Application: the information obtained from the former two is used in translation practice and translator training.&amp;quot;（Liao Qiyi 2002，54）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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He discusses the dialectical relationship between descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. &lt;br /&gt;
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He discusses the dialectical relationship among descriptive translation studies, theoretical translation studies and applied translation studies, and believes that the theoretical branch is subordinate to the descriptive branch, and that only when the description of the translation process reaches a certain level and the collection of practical data reaches a certain amount can the theory have a practical development. Therefore, under the circumstances of frequent translation activities at that time, various translation theories based on experience emerged in an endless stream, but they were mutually exclusive. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text Based on this, a more extensive comparative study was carried out.After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches. &amp;quot;Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, You have to have at least one intuitive theoretical hypothesis to start studying the other two fields.&amp;quot;（Liao Qiyi 2002，55）&lt;br /&gt;
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For the sustainable development of translation theory, Holmes proposed the next goal of translation research, that is, to establish a description system of translation, to describe the corresponding symbol system, rules and classification between the original text and the translated text. Based on this, a more extensive comparative study was carried out. After the formation of this description system, the goal of translation studies is to establish a comprehensive theory. But this development process is not one-way, but dialectical, each of the three branches must serve the other two branches.&amp;quot; Translation description provides basic data on which translation theories are built. One branch provides materials for the other two branches, and then uses the findings provided by the other two. For example, it is impossible to establish a translation theory without describing the detailed and specific data provided by descriptive research and applied research; however, on the other hand, you have to have at least one intuitive theoretical hypothesis to start studying the other two.&amp;quot;（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）&lt;br /&gt;
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Holmes further subdivided each branch. For example, the description branch includes three different descriptions based on translation, function and process. Taking translation work as the starting point requires the description of the actual translation centered on the work. taking the function as the starting point, it is necessary to show the influence of cultural factors on the reader's receptivity of the target text. Taking the process as the starting point, it pays attention to the translator's thinking process in the translation.（Liao Qiyi 2002，55）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot; a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).&lt;br /&gt;
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Compared with traditional translation theories, Holmes' method of describing the translation process shows another change. That is, he tries to better translate a certain symbol type by describing various translation methods in different periods and their usage in history. Holmes’s article is highly influential in that descriptive translation studies has given rise to &amp;quot;a considerable widening of the horizon, since any and all phenomena relating to translation, in the broadest sense, become objects of study.&amp;quot; (Hermans 1985, 14).--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.&lt;br /&gt;
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However, it is a pity that descriptive translation studies received little attention in the academic circle at that time, until the Israeli scholar Gideon Toury has made a systematic and comprehensive study of descriptive translation studies on the basis of Holmes. However, the framework of descriptive translation proposed by Holmes still provides a correct direction for the development of translation studies and makes translation studies pay more attention to descriptive translation studies.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.4 Polysystem Theory====&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundaries between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）&lt;br /&gt;
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In the early 1970s, Zohar first put forward the polysystem theory, shaking the traditional translation view that the original text is Paramount and the translation can only be derived text. &amp;quot;The polysystem（多元体系派） is not satisfied with the achievements made by the translation studies（翻译研究派）. It uses the theoretical system and research methods of Russian formalism for reference, and introduces the concept of &amp;quot;polysystem&amp;quot;, which breaks through the boundary between traditional linguistics and literature. Combined with the theory of translation studies, it makes a thorough study of the factors influencing the translation process and the multiple criteria of translation Research .&amp;quot;（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）&lt;br /&gt;
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According to Polysystem, literature, politics, religion, economy and other systems are all part of a larger, multi-level and dynamically changing polysystem. In this polysystem, each system is interdependent and interacts with each other. Most of the traditional translation studies are based on the original text to judge the quality of the target text. In fact, the original text is not the only factor determining the target text, and the quality of the target text is not the only problem worth discussing in translation studies. From the choice of translation materials and strategies to the status and function of the target culture, they are influenced by a series of social factors inside and outside the target culture.（Liao Qiyi 2002, 59）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）&lt;br /&gt;
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Polysystem theory expands the scope of research, opens up new research approaches, promotes the cultural turn of translation studies, makes us have a more comprehensive understanding of translation phenomena, makes translation studies get rid of the application orientation, and improves the theoretical and academic nature of translation studies.（Zhang Nanfeng 2002, 19）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.5 Gideon Toury&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations that are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）&lt;br /&gt;
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Toury's translation theory and translation research theory are deeply influenced by Zohar and Holmes. Since 1975, in order to verify Zohar's translation theory, Toury has carried out field research in Tel Aviv University. He wants to find out the systematic rules that restrict translation by collecting the actual choices made in the process of translation. According to his research results, He found that the choice of most translation works is subject to ideology rather than linguistics or aesthetics, and the translations who are inconsistent with the existing translation theories can also be recognized by readers. (Liao Qiyi 2002, 68）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, that makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description.From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）&lt;br /&gt;
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This makes him realize that existing source system centered translation theories are not comprehensive, thus makes him start to seek a new translation theory, that is, a comprehensive translation theory based on field research Tuli published in his book ''exploration of translation theory''. After the publication of this work, the focus of translation studies shifted from theory to description. From 1980 to 1995, Toury supplemented and revised the descriptive translation theory on the basis of Holmes. His book ''Descriptive Translation Studies–and beyond'' is the practice and application of Holmes' descriptive translation theory. The book has also become the most comprehensive and systematic work on translation studies. He proposed that the descriptive nature of translation and the status and function of the target language are determined by the culture of the target language. (Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）&lt;br /&gt;
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Translation is restricted by a series of norms, which are culturally relevant within the cultural framework of the target language on which the translator relies. According to Toury, descriptive translation studies are based on norms and guided by rules. The purpose of descriptive translation studies is to analyze the general rules of translation by comparing the source text with the target text. He proposes that the production of translation involves the literary background in the target culture. The concept of &amp;quot;one to one correspondence&amp;quot; in translation and the translation requirements of literary and linguistic equivalence are abandoned. It shakes the idea that the original information is invariable. It also puts forward the idea that the original text and the translation should be integrated in the cultural system.(Liao Qiyi 2002, 69）--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. &lt;br /&gt;
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In 1989, JoséLambert and Toury founded an international journal target, which is subtitled &amp;quot;International Journal of translation studies&amp;quot; and covers academic works on descriptive translation studies. This is another impetus to expand descriptive translation studies internationally. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications,which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have often been taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)&lt;br /&gt;
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Gideon Toury also analyzes the reasons for the stagnant development of descriptive translation studies in his works：&amp;quot;One of the main reasons for the prevailing underdevelopment of a descriptive branch within Translation Studies has no doubt been an overriding orientation towards practical applications, which has marked-and marred-scholarly work at least since the nineteen sixties.Thus, whereas for most empirical sciences, including even Linguistics, such applications-important as they may be-are presented merely as extensions into the world, the immediate needs of particular applications of Translation Studies have been often taken as a major constraint on the formation of the theory itself, or even as the very reason for its existence. Small wonder that a scholarly framework geared almost exclusively towards applicability in practice should show preference for prescriptivism at the expense of description, explanation and prediction. &amp;quot; (Toury 2012. xii)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.&lt;br /&gt;
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He criticizes this phenomenon and thinks that most descriptive research is conducted in other disciplines other than translation studies, such as contrastive linguistics, contrastive textualism, comparative literature and stylistic comparison, which is a kind of behavior that the translation circle is avoiding the research within its own scope of competence.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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====2.6 Snell-Hornby&lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined..presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. &lt;br /&gt;
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In the 1990s, more linguists began to question the traditional concept of equivalence and the status of the original text. Snell - Homb said :“Equivalence is unsuitable as a basic concept in translation theory : the term equivalence, apart from being imprecise and ill-defined，presents an illusion of symmetry between languages which hardly exists beyond the level of vague approximations and which distorts the basic problems of translation.&amp;quot; (Mary Snell-Hornby 1988，22) She is critical of the traditional literary translation theory and the translation theory of the linguistic school in the 1960s (especially the manipulation school). She agrees with the opinion of the translation studies that translation study should not be subordinate to comparative literature, linguistics or other disciplines, but should be an independent discipline, and should adopt a holistic and integrated approach to the study of translation. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types.Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)&lt;br /&gt;
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Other scholars tried to further develop the concept of equivalence and classify it. They pointed out that in addition to exploring the source text, it is also very important to study the target language and its specific text types. Therefore, translation studies should investigate the real texts in the original and target languages. This research demand has made the descriptive translation studies develop rapidly and gradually take the place of normative translation studies and occupy the central position in translation studies. &amp;quot;Description&amp;quot; has become a new trend in translation studies. And Mary Snell Hornby's ''Translation Studies:An Integrated Approach'' is regarded as a major force in translation studies. (Wang Peng 2008, 96)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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===Chapter 3 The relationship between normative translation studies and descriptive translation studies===&lt;br /&gt;
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====3.1 The value of descriptive translation studies and the limitations of normative translation studies====&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.&lt;br /&gt;
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In fact, the traditional western translation research paradigm is normative translation research, that is, normative translation research approach, or a kind of translation research that sets standards to specify how to translate well in a specific culture. Traditional normative translation studies focus on the comparison of texts, trying to explore the law of language conversion, judge the quality of the translation, and then provide specific guidance for translation practice.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
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Generally speaking, normative translation studies have the following characteristics：the establishment of eternal principles or standards for translation is usually based on the translator's personal experience in solving specific translation problems for others to follow, regardless of the number of readers and socio-cultural background changes. It is often taken for granted that any betrayal of these rules at the linguistic level should be labeled as disloyal, structurally heavy or misleading, regardless of the historical background and context of translation. The academic interest in seeking code conversion mechanism and setting translation principles or standards can be understood as efforts to make up for the lack of understanding and expression ability at the language level. （Han Ziman，Liu Fang 2005，98)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.&lt;br /&gt;
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Maria Tymoczko believes that：&amp;quot;As a language art, translation has often been considered from the viewpoint of timeless linguistic rules(which has led to a normative tendency in the theory.)&amp;quot; (Maria Tymoczko 1999, 25) Because in the early days, people only regarded translation as a kind of language art, and didn't pay much attention to the cultural environment. Even when it came to culture, they finally focused on the specific translation skills. Because they paid too much attention to the study of translation skills, normative translation research was always inseparable from the debate between literal translation and free translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
    &lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97) &lt;br /&gt;
&lt;br /&gt;
Is there an absolute norm to follow in translation? Translation is a social and cultural activity involving two cultures, so it is bound to be restricted by two different cultural norms. Translation is by no means merely a language transformation in the sense, and the recognition and acceptance of a certain translation strategy cannot be determined by the translator's personal ability. It is restricted by many factors such as history, society, culture, politics, aesthetic taste and readers' expectation. In this sense, there is no absolute norm. （Han Ziman，Liu Fang 2005，97)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：&lt;br /&gt;
&lt;br /&gt;
Normative translation theories pay too much attention to the transcendental statement of translation and set standards or principles to ensure the quality of translation. This undoubtedly limits translation studies and makes translation scholars feel suffocated. Because of these limitations in normative translation studies, the further development of translation studies has been hindered, so the necessity of descriptive studies have been reversed. In order to have a more comprehensive understanding of translation, descriptive translation studies have gradually developed and given full play to their value：--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited to the study of equivalence between texts. &lt;br /&gt;
   &lt;br /&gt;
(1) First of all, descriptive translation studies have made great contributions to the development of translation studies. Translation phenomenon, which has always been on the edge, has entered the field of vision of translation researchers. Before the advent of descriptive translation studies, it was generally believed that only the translated works which are fully equivalent to the original text can be regarded as translation. Therefore, at that time, people criticized the translation works that did not achieve complete equivalence, and even did not include them in translation studies. Translation studies have always been limited by the study of equivalence between texts. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
   &lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot; In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion(translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)&lt;br /&gt;
&lt;br /&gt;
However, descriptive translation researchers believe that as long as they appear in the target culture in the face of translation or the target language readers think that they are translations, all texts can be called &amp;quot;translation&amp;quot;. In this way, the scope of translation studies has been expanded. Some extreme but factual translation phenomena, such as conversion (translating through an intermediary language) and pseudo-translation (translating without the original text), have been brought into the scope of translation studies.(Toury 2012, 32)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;the wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) &lt;br /&gt;
&lt;br /&gt;
(2)Secondly, descriptive translation studies no longer focus on the static text system as the previous normative translation studies, but pay more attention to the dynamic relationship between translation practice and the ever-changing social and cultural environment of the target language. This chagemakes people realize that in order to study translation more systematically and comprehensively,the method of contextlization should be adopted. Only by putting the translated works back into the historical environment and socio-cultural context of their creation can the translation phenomenon be described more accurately. For example, Piao (gone with the wind) translated by Fu Donghua is the object of criticism by many scholars who advocate foreignization translation. Some scholars claim that domestication is &amp;quot;a wrong way of translation&amp;quot;. (Liu Yingkai 1987, 22) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)''with Li Yeguang and others’ translations ,and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56)This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) &lt;br /&gt;
&lt;br /&gt;
The example they cited is Fu's ''Piao(Gone with the Wind)''However, in the analysis, they have not made in-depth discussion on the reasons for Fu's choice of domestication, and have not noticed that there are many examples of extreme Foreignization in his early translation works. Therefore, it seems unfair to criticize Fu. It is only in early 21st century that this problem has gradually attracted the attention of scholars. Some scholars compare Fu's ''Piao(Gone with the Wind)'' with Li Yeguang and others' translations, and compare several macro cultural factors influencing Fu Donghua's ''Piao(Gone with the Wind)''. They came to the conclusion that &amp;quot;the gain and loss of a work should be measured from the perspective of history&amp;quot;(冯庆华、王昱1998 :56) This example illustrates the value of descriptive translation studies, that is, to make a diachronic study of translation phenomena, rather than merely confined to synchronic studies.（Han Ziman，Liu Fang 2005，98) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3.2 The limitations of descriptive translation studies and the value of normative translation studies====&lt;br /&gt;
&lt;br /&gt;
First of all, descriptive translation studies are not perfect at present. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) &lt;br /&gt;
    &lt;br /&gt;
First of all, descriptive translation studies are not perfect yet. Toury believes that the fundamental purpose of descriptive translation studies is to establish these potential norms and their influence on translators' choice of translation strategies. However, he seems to go to another extreme, regarding the target language and its culture as everything, completely ignoring the role of the source language and the translator in the process of translation. Moreover, he has not discussed in detail how these factors restrict the translator, how the translator makes the choice and why he makes such a choice. Therefore, although his theory has certain progressive significance and reference, it is not perfect.(Liu Zongyan 2008, 201) --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury clearly believes that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)  &lt;br /&gt;
    &lt;br /&gt;
Moreover, descriptive translation studies emphasize the objectivity and neutrality of the researchers and avoid value judgment too much. Descriptive translation studies advocate that researchers should be objective, neutral and detached from the research objects. Toury believes clearly that the study of culture and history can be neutral. In his works, he tried to show an objective appearance by using a lot of scientific terms. Dirk Delabastita and Lieven D'hulst, in their collection European Shakespeares, repeatedly stressed that translation researchers should maintain a &amp;quot;detached and purely descriptive attitude.&amp;quot; ( Hermans 1999 , 36)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)  &lt;br /&gt;
    &lt;br /&gt;
&lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)&lt;br /&gt;
&lt;br /&gt;
This requirement has been questioned by many scholars, including some closely related to descriptive translation studies. For example, Hans J. Vermeer thinks that Toury's early research methods are in fact &amp;quot;meta - prescriptive&amp;quot; in a sense, because he sets the preconditions for the analysis of translation.(Vermeer 1996 :49) Lawrence Venuti proposed that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He pointed out that merely taking translation as a research topic of cultural history or cultural criticism is already a resistance to the marginal position of translation in the current cultural hierarchy, and the choice of topics in a specific historical period is always related to the current cultural needs.（Han Ziman，Liu Fang 2005，99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
    &lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. &lt;br /&gt;
&lt;br /&gt;
On the other hand, descriptive translation studies are not helpful to people's understanding of the merits and demerits of specific translation works. Excessive promotion of descriptive translation studies will not be conducive to the improvement of translation quality, and even have a negative impact on translation practice. --[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)&lt;br /&gt;
&lt;br /&gt;
Normative translation studies have been overemphasized and become rigid dogma. It is only an incomplete research method, and it is not wrong. Moreover, for some texts, descriptive translation theory can not meet their requirements. For example, legal texts and dictionary texts are very formal texts. The use of words and syntactic structure have strict requirements, and the translation of such texts has a high requirement for faithfulness. At this time, the value of normative translation research is reflected.（Han Ziman，Liu Fang 2005, 99)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3.3 The relationship between prescriptive translation studies and descriptive translation studies====&lt;br /&gt;
&lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )&lt;br /&gt;
    &lt;br /&gt;
In linguistics, norms and descriptions are a pair of relative theoretical principles and two relative methodological categories. The traditional translation principles only focus on principles, standards, methods and techniques, which are normative studies. Nowadays, translation studies focus on description, which is composed of linguistics, literary criticism theory, psychology, philosophy, sociology, culture, etc. According to the above analysis, the two are complementary. The value of descriptive translation studies lies in its ability to make up for the limitations of normative translation studies. Normative translation studies also play an irreplaceable role in the translation of some special texts. Therefore, we can't think about the relationship between the two from the perspective of binary opposition. Although they are two opposite concepts, they are not incompatible.（Han Ziman，Liu Fang 2005, 100. )--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6)In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.&lt;br /&gt;
&lt;br /&gt;
The view of binary opposition can not deal with complex translation studies. The application of the two research methods should be flexible. We should choose the appropriate method according to different research objects. We need to have multiple coexistence Thinking. As for the debate about which is better or worse, in the author's opinion, it is unnecessary. Nida has also stressed that &amp;quot;translation theory should be inclusive, and various means should be used to solve various problems in translation.&amp;quot;(Liao Qiyi 2002, 6) In fact, the development of descriptive translation studies is not to overthrow the traditional normative translation theories, but to criticize the lack of normative translation theories and supplement the normative research.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Conclusion=== &lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short，There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.&lt;br /&gt;
    &lt;br /&gt;
Translation was officially recognized as an independent discipline more than 30 years, is a very young discipline, but in fact, the history of translation activities is not short. There are a lot of translation theories in both China and the West. However, due to the lag of descriptive translation studies, there is still a lot of space for research. Both Chinese and Western scholars believe that the ultimate goal of translation studies is to establish translation norms and principles, which are not the summary of previous personal experience, but the basis of a large number of descriptive translation studies On the basis of the standard.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.&lt;br /&gt;
    &lt;br /&gt;
Descriptive and normative are the dual attributes of any discipline. Descriptiveness is the basis, premise and condition of normalization. Normalization is the development, result and purpose of descriptive. Translation studies are both descriptive and normative. It is the unity of opposites between descriptive and normative. In other words, descriptive translation studies and normative translation studies are like the positive and negative sides of a coin, It cannot be separated . It is one-sided and wrong to emphasize only the standardization of translation or the description of translation.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.&lt;br /&gt;
&lt;br /&gt;
Descriptive translation studies are intended to explain the process and phenomenon of translation. Compared with the micro-analysis of normative translation studies, it studies translation from a macro perspective. Although there are still some deficiencies in descriptive translation theory, descriptive translatology provides a new perspective and analysis approach for translation studies, which deserves our attention and development.--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 04:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Reference===&lt;br /&gt;
Baker. (1995). Corpora Linguistics and Translation Studies: an Overview and Some Suggestions for Future Reseearch. Target.&lt;br /&gt;
&lt;br /&gt;
J.C.Catford. (1965). A Linguistic Theory Of Translation. Oxford:Oxford University Press,  20.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1985). The Manipulation of Literature: Studies in Literary Translation. Beckenham: Croom Helm.&lt;br /&gt;
&lt;br /&gt;
Hermans,Theo. (1999) . Translation in Systems . Manchester: St Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Holmes,J.S. (1988). Translated Papers on Literary Translation and Translation Studies. Amsterdam: Rodopi.&lt;br /&gt;
&lt;br /&gt;
Meria Tymoczko. (1999). Translation in a Postcolonial Context - Early Irish Literature in English Translation. St.Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Snell-Hornby.(1988). Translation Studies: An Integrated Approach. Amsterdam/Philadelphia: John Benjamins.&lt;br /&gt;
&lt;br /&gt;
Han Ziman 韩子满，Liu Fang 刘芳（2005）. 描述翻译研究的成就与不足[Achievements and Shortcomings of Descriptive Translation Studies]. 外语学刊[Foreign Language Research](03).&lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一. (2002). 当代西方翻译理论探索[Exploration of contemporary Western translation theories]&lt;br /&gt;
&lt;br /&gt;
Lin Kenan 林克难. (2001).翻译研究：从规范走向描写[Translation Studies: From the Prescriptive &lt;br /&gt;
to the Descriptive Approach].中国翻译[Chinese Translation Journal](06).&lt;br /&gt;
&lt;br /&gt;
Liu Zongya 刘宗衍. 浅谈翻译理论的“规范”性[On the &amp;quot;Normative&amp;quot; Nature of Translation Theory]. 科技资讯[Science &amp;amp; Technology Information]&lt;br /&gt;
&lt;br /&gt;
Wang Peng 王鹏. (2008). 描写翻译研究及其方法[Descriptive Translation Studies and its methodology]. 四川外语学院学报[Journal of Sichuan International Studies University](04).&lt;br /&gt;
&lt;br /&gt;
Zhang Nanfeng 张南峰.(2002).多元体系理论[Polysystem Theory]. 中国翻译[Chinese Translation Journal](02).&lt;br /&gt;
&lt;br /&gt;
==Translation Strategies Sagara Seydou, Student No :201911080004, Major:Translation Studies== &lt;br /&gt;
 &lt;br /&gt;
Translation Strategies &lt;br /&gt;
 &lt;br /&gt;
==Abstract ==   &lt;br /&gt;
&lt;br /&gt;
Much work has been done in recent years on translation strategies. However, the definition offered by each author or theorist represents his/her own point of view and their views differ from each other. Most theorists agree that strategies are used by translators when they encounter a problem and literal translation does not work. Therefore, different researchers have investigated and described various translation strategies from their own perspectives. Some best-known theories of this field are described and compared to each other in this paper. The purpose of this study is to show the different theories in the field of translation strategies and to offer a general literature review to facilitate the study of translation strategies in future studies.&lt;br /&gt;
&lt;br /&gt;
Key words: translation strategies and translational problems.&lt;br /&gt;
&lt;br /&gt;
This study includes four main sections: 1. Introduction; 2. Content; 3. Conclusions; 4. References;&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The term “strategy” in “translation strategies” is often used synonymously with such terms as “procedure,” “technique,” “method,” “tactic,” “approach,” and so forth. Their meanings overlap, and translation researchers deﬁne them in various ways. Despite the terminological confusion, discussions of translation strategies can be traced back to Cicero’s advocacy of sense-for-sense translation in 46 BC, and are widely covered in translation textbooks for their pedagogical signiﬁcance. This topic also relates to broad theoretical issues in translation studies. (Wikipedia n.d)&lt;br /&gt;
&lt;br /&gt;
==Content==&lt;br /&gt;
&lt;br /&gt;
Researchers have attempted to distinguish translation strategy from its synonyms, and to develop their own classiﬁcations from different perspectives. For example, Lörscher’s (1991) classiﬁcation is based on a cognitive approach, while Chesterman’s (1997) differentiation uses a textual approach. Yet, the conceptual confusion has not been dispelled. This entry tries to distinguish translation strategies, techniques, and procedures, and to consolidate existing classiﬁcations. It seems that clear-cut deﬁnitions of these terms might not work as well as prototype deﬁnitions. Most researchers would agree that the two prototype translation strategies are literal translation and free translation. Chesterman’s (1997)&lt;br /&gt;
The former focuses on the level of words, while the latter goes beyond the word level and emphasizes the creation of a target text that sounds natural in the target language. These two strategies are described in a variety of oppositions: word-for-word translation versus sense-for-sense translation; source-oriented translation versus target-oriented translation; direct translation versus oblique translation (by Vinay and Darbelnet); adequacy versus acceptability; formal equivalence versus dynamic equivalence (by Eugene Nida); semantic translation versus communicative translation (by Peter Newmark);overt translation versus covert translation (by Juliane House); documentary versus instrumental translation (by Christiane Nord); foreignization versus domestication (by LawrenceVenuti), and so on. While these binary oppositions have much in common, they reﬂect different perspectives and emphasize different translation aims and effects. For instance, word-for-word translation and sense-for-sense translation are text-level or segment-level strategies. Nida’s (1964) formal equivalence versus dynamic equivalence is mainly from a linguistic perspective and involves reader response. The domesticating translation versus foreignizing translation pair, proposed by Venuti (1995), reﬂects a cultural interventionist perspective. The two strategies affect the choice of text for translation as well as the translation process. Venuti advocates the foreignizing strategy in order to “register the linguistic and cultural differences of the foreign text” (1995, p. 81)&lt;br /&gt;
&lt;br /&gt;
The “literal versus free” debate has been one of the central issues in translation theory and criticism throughout the ages. However, it is now generally believed that this dichotomous debate is relatively sterile, as the two strategies are part of a continuum, and the selection of a strategy is a function of the theoretical assumption of “what is a translation” text type (e.g., serious literature, children’s literature, technical texts, print advertisements), domain (e.g., IT, legal), function (e.g., for publication, information, or light entertainment), prestige of the source text (e.g., the Bible, pulp ﬁction), motivation(e.g., payment), and other factors (or constraints). (Hatim &amp;amp; Munday,2004, p. 230)&lt;br /&gt;
&lt;br /&gt;
Having discussed the two prototype strategies, let us turn to the deﬁnitional question: what is a translation strategy? Lörscher (1991), Chesterman (1997), and other researchers agree on a few deﬁning characteristics of a translation strategy: (a) it is goal-oriented,(b) it is problem-centered, (c) it requires making coordinated decisions, (d) it is potentially conscious, and (e) it involves text manipulation. The aforementioned two prototype translation strategies have these characteristics. Since a translation strategy involves problem solving, a categorization of translation problems would correspond to a categorization of translation strategies. The difﬁculty with this, however, is that there are a number of ways in which problems can be categorized. For instance, the categorization criterion can be the prior knowledge required to solve them, the nature of the goal involved, and the complexity of the problems involved (Robertson, 2001, p. 6).&lt;br /&gt;
Problems, according to their scale, can be divided into global (or general) problems and local (or speciﬁc) problems. Jääskeläinen (1993, p. 116) makes a corresponding distinction between global strategies (i.e., “the translator’s general principles and preferred modes of action”) and local strategies (i.e., “speciﬁc activities in relation to the translator’s problem-solving and decision-making”). Global strategies might be dictated by or with the commissioner while local strategies are up to the translator. In addition, local strategies are designed to handle speciﬁc problems and need to be consistent with the chosen global strategy. Jääskeläinen found that global strategies are much more frequently and consistently used by professional translators than by nonprofessionals. From Jääskeläinen’s perspective, literal and free translation strategies are global strategies since the translator has to think about the goal of the translation and how the target text should affect the readers. The global strategy chosen will affect the translation process. Since local strategies are immediately followed by speciﬁc techniques, which affect the translation result and the micro-units of the text, and are classiﬁed by comparison with the source text (Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
As translators grow in competence, some former translation problems will no longer present an obstacle to them; some of their local strategies become semiconscious or unconscious, and the use of certain techniques to cope with certain problems is automatized. Vinay and Darbelnet’s (2000) taxonomy of translation techniques (which they call “procedures”) has a wide impact. They did a comparative stylistic analysis of French and English, and divided the seven procedures they discovered into two general strategies: direct/literal translation and oblique translation. The former includes: (a) borrowing (i.e., borrowing a word or expression from the source language, such as the Chinese word“kung Fu” in modern English); (b) calque (which is a kind of borrowing whereby the structure of the original word or phrase is maintained but its morphemes are replaced by those of the target language; for example, the Chinese word “motian dalou,” literally “sky-scraping big building,” is a calque of skyscraper); (c) Literal translation. Oblique translation includes: (d)transposition (i.e., changing the word class or grammatical structure without changing the meaning of the message, as in rendering a noun in the source text into a verb in the target text); (e)modulation (i.e., changing the point of view or cognitive category in relation to the source text, as in rendering a negative construction into a positive one: “not complicated” becomes “easy”); (f)equivalence (e.g., translating “to kill two birds with one stone” into Chinese as “to kill two eagles with one arrow”); (g) adaptation  (i.e., a shift in cultural reference when the type of situation being referred to by the source text is unknown in the target culture, such as using the word “seal” for sheep when translating the Bible into Inuktitut).Among local translation strategies, Chesterman (1997) distinguishes between comprehension strategies (for understanding and analyzing the source text) and production strategies(for the production of the target text). From a linguistic perspective, he divides productions strategies into mainly syntactic/grammatical, mainly semantic, and mainly pragmatic, with each category containing 10 techniques. Syntactic strategies involve purely syntactic changes, manipulate form, and include such techniques as calque, transposition, and sentence structure change. Semantic strategies mainly pertain to changes concerning lexical semantics. They manipulate meaning and contain techniques such as synonymy, emphasis change, and paraphrase. Pragmatic strategies have to do with the selection of information in the target text, and often involve syntactic or semantic changes as well. Pragmatic strategies include cultural ﬁltering, explicitness change, information change, trans editing, and so forth. Some of these techniques are obligatory during translation in a given language pair, while most are optional .Many researchers (e.g., Lörscher, 1991) believe that a translation strategy is a procedure or a sequence of actions.(Molina &amp;amp; Hurtado Albir, 2002, p. 509).&lt;br /&gt;
&lt;br /&gt;
However, this is not consonant with the dictionary deﬁnitions of strategy. According to the Oxford English dictionary, strategy refers to “a plan for successful action based on the rationality and interdependence of the moves of the opposing participants,” while procedure is deﬁned as “[t]he fact or manner of proceeding with any action, or in any circumstance or situation; a system of proceeding; proceeding, in reference to its mode or method; conduct, behavior.” Krings (1986, p. 268) deﬁnes translation strategies as “potentially conscious plans for solving a translation problem.” Strategies involve adopting procedures to solve problems, and the chosen procedure will inﬂuence the result .Now let us turn our attention to translation procedures (referred to as “translation strategies” by some researchers) and procedural steps. Gerloff (1986) identiﬁed the following text processing strategies: (a) problem identiﬁcation, (b) linguistic analysis, (c) storage and retrieval, (d) general search and selection, (e) in ferencing and reasoning strategies,(f) text contextualization, (g) editing, and (h) task monitoring. In his empirical studies, Lörscher (1991) recognized 22 elements constituting translation strategies (or procedural steps), including nine original ones and 13 potential ones, such as realizing a translational problem, preliminary solution to a translational problem, and the mental organization of source-language text segments. During the translation process, these elements are combined by translators into basic structures. He found that professional and nonprofessional translators differ in the distribution and frequency of the strategies employed, but do not differ qualitatively; that is, their mental processes do not reveal signiﬁcant differences. He concluded that it is impossible to ascertain “[w]hen faced with problem X, [translators] employ strategy Y,” but we can ﬁnd out “[w]hen several [translators] are faced with a problem X, many or most of them employ similar or the same types of strategy” (p. 280) ==&lt;br /&gt;
Darwish (2008) identiﬁes four distinct translation procedures employed in translating: recursive strategy (i.e., a circular and revisional process), waterfall strategy (i.e., a sequential unit-by-unit process), stop-and-go strategy (i.e., a block-by-block process), and mixed strategies (i.e., a combination of the previous three strategies).In some translation textbooks (e.g., Thinking German Translation: A Course in Translation Method by Hervey, Loughridge, &amp;amp; Higgins, 2006), “translation method” is often used as a cover term for “translation strategy,” “translation technique,” and even “translation procedure.” For instance, there are literal and free translation methods. Compared with translation strategies, which are highly individualistic, translation methods are supra-individual and well tested (Lörscher, 1991, p. 70&lt;br /&gt;
==&lt;br /&gt;
However, “translation method” in English is often associated with such modes as machine translation and computer-aided translation. The term “translation approach” is often used in a vague sense, while “translation tactic” is rarely used. Discussions of translation strategies before the 1980s were primarily prescriptive, and researchers tended to argue for one translation strategy against another. Since the 1980s, empirical research into translation strategies, techniques, and procedures has become increasingly common. There are two major empirical approaches in this regard: product oriented and process-oriented. The former approach mainly refers to corpus-based contrastive analysis: a parallel corpus consisting of source texts and translations is built for analyzing the frequency of shifts (i.e., textual differences between source text and target text) and the various translation strategies and techniques employed. The factors to be considered can include text type, domain, synchronic and diachronic variation in language features and translation norms, idiosyncrasy, certain language features (e.g., metaphors, allusions), among others. In a process-oriented approach, translators are usually asked to translate a passage while thinking aloud, and the process will be recorded and then analyzed. The factors that might inﬂuence the frequency and distribution of translation strategies and procedures may include translation competence (e.g., novice translators versus professional translators), language direction (i.e., from or into the mother tongue), text type domain, translation brief, translation difﬁculty level of the test passage, time pressure, and so forth. These factors need to be manipulated or kept constant in an experiment in order to make meaningful comparisons.(Lörscher, 1991, p. 70).&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
In this study, translational problems and mainly translation strategies were described, and different theories of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Translation: An advanced resource book . London, England: Routledge.Hervey, S., Loughridge, M., &amp;amp; Higgins, I. (2006).Thinking German translation: A course in trans-lation method, German to English (2nd ed.). London, England: Routledge. Jääskeläinen, R. (1993). Investigating translation strategies. In S. Tirkkonen-Condit &amp;amp; J. Lafﬂing(Eds.),  Recent trends in empirical translation research (pp. 99–120). Joensuu, Finland: Universityof Joensuu.Krings, H. P. (1986). Translation problems and translation strategies of advanced German learnersof French (L2). In J. House &amp;amp; S. Blum-Kulka (Eds.), Interlingual and intercultural communication (pp. 263–76). Tübingen, Germany: Narr.Lörscher, W. (1991). 5. Jiraphatralikhit, J., Klinpoon, S., &amp;amp; Kaewjan, S. (2005). An analysis of strategies in translation of the movie subtitle: Behind the painting.Research Gate, 1, 54-71.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=115554</id>
		<title>20201215 cultexam 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=115554"/>
		<updated>2020-12-19T09:42:55Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Spring Festival Couplets - Cao Runxin 曹润鑫 Student No:202070080634 .英语口译 */&lt;/p&gt;
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&lt;div&gt;*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei];  [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.&lt;br /&gt;
&lt;br /&gt;
'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
==Chinese Astrology - Alsied, Saffana==&lt;br /&gt;
&amp;quot;Chinese Astrology&amp;quot;--[[User:SAFFANA ALSIED ,Student No:......... Major...........&lt;br /&gt;
&lt;br /&gt;
===The History===&lt;br /&gt;
&lt;br /&gt;
So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the  source is coming from ?&lt;br /&gt;
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===The Five Elements And YIN/YANG===&lt;br /&gt;
&lt;br /&gt;
Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation  please?&lt;br /&gt;
&lt;br /&gt;
A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?&lt;br /&gt;
&lt;br /&gt;
===THE FORCES OF YIN / YANG===&lt;br /&gt;
&lt;br /&gt;
Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.&lt;br /&gt;
&lt;br /&gt;
A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?&lt;br /&gt;
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Chinese astrology was invented to achieve the two following goals;&lt;br /&gt;
&lt;br /&gt;
1.)  To predict the future,&lt;br /&gt;
&lt;br /&gt;
2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. &lt;br /&gt;
&lt;br /&gt;
According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?&lt;br /&gt;
&lt;br /&gt;
Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?&lt;br /&gt;
&lt;br /&gt;
The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?&lt;br /&gt;
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You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Astrology 中国占星学&lt;br /&gt;
&lt;br /&gt;
2. Chinese Zodiac 中国十二生肖&lt;br /&gt;
&lt;br /&gt;
3. Agricultural calendar 农业日历&lt;br /&gt;
&lt;br /&gt;
4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）&lt;br /&gt;
&lt;br /&gt;
5. The Oriental philosophy 东方哲学&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1-Why was Chinese astrology invented?&lt;br /&gt;
&lt;br /&gt;
2-How Chinese astrology relates to a person’s divine destiny?&lt;br /&gt;
&lt;br /&gt;
3-What important role does the Chinese zodiac play in Chinese culture?&lt;br /&gt;
&lt;br /&gt;
4- What is Chinese astrology based on?&lt;br /&gt;
&lt;br /&gt;
5-Is Chinese astrology accurate?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.&lt;br /&gt;
&lt;br /&gt;
2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.&lt;br /&gt;
&lt;br /&gt;
3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.&lt;br /&gt;
&lt;br /&gt;
4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.&lt;br /&gt;
&lt;br /&gt;
5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9&lt;br /&gt;
&lt;br /&gt;
何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591&lt;br /&gt;
&lt;br /&gt;
Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.&lt;br /&gt;
&lt;br /&gt;
Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;&amp;quot;Almanac&amp;quot; &amp;quot;lunar&amp;quot; zodiac beginning of spring as the boundary dislocation? — China Network&amp;quot;. 16 February 2009. Retrieved 5 January 2011.&lt;br /&gt;
&lt;br /&gt;
Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Five Elements(Wu Xing)&amp;quot;. YourChineseAstrology.com&lt;br /&gt;
&lt;br /&gt;
==Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译 ==&lt;br /&gt;
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Spring Festival Couplets===&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).&lt;br /&gt;
&lt;br /&gt;
Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).&lt;br /&gt;
&lt;br /&gt;
The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).&lt;br /&gt;
&lt;br /&gt;
There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.&lt;br /&gt;
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.&lt;br /&gt;
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.&lt;br /&gt;
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions ===&lt;br /&gt;
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 &lt;br /&gt;
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Paste 贴&lt;br /&gt;
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Horizontal scroll 横联&lt;br /&gt;
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Upper scroll 上联&lt;br /&gt;
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Lower scroll 下联&lt;br /&gt;
&lt;br /&gt;
===Questions ===&lt;br /&gt;
1.What’s the purpose of pasting Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
To expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
&lt;br /&gt;
2.What’s the historical origin of Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
It  originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.&lt;br /&gt;
&lt;br /&gt;
3.How to read the Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. &lt;br /&gt;
&lt;br /&gt;
4.How to do with the Old Couplets?&lt;br /&gt;
&lt;br /&gt;
Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.&lt;br /&gt;
&lt;br /&gt;
==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==&lt;br /&gt;
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[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]&lt;br /&gt;
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===Guzheng===&lt;br /&gt;
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''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.&lt;br /&gt;
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''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments.As early as 2500 years ago, ''zheng'' became an important instrument and was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).&lt;br /&gt;
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There are different opinions about how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)&lt;br /&gt;
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The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were oiginally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is about a rectangle, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;amp;z=0&amp;amp;ipn=d&amp;amp;word=古筝&amp;amp;step_word=&amp;amp;hs=0&amp;amp;pn=27&amp;amp;spn=0&amp;amp;di=9900&amp;amp;pi=0&amp;amp;rn=1&amp;amp;tn=baiduimagedetail&amp;amp;is=0%2C0&amp;amp;istype=2&amp;amp;ie=utf-8&amp;amp;oe=utf-8&amp;amp;in=&amp;amp;cl=2&amp;amp;lm=-1&amp;amp;st=-1&amp;amp;cs=3246661627%2C3658564396&amp;amp;os=3335747328%2C3552694810&amp;amp;simid=0%2C0&amp;amp;adpicid=0&amp;amp;lpn=0&amp;amp;ln=1718&amp;amp;fr=&amp;amp;fmq=1607348039297_R&amp;amp;fm=result&amp;amp;ic=&amp;amp;s=undefined&amp;amp;hd=&amp;amp;latest=&amp;amp;copyright=&amp;amp;se=&amp;amp;sme=&amp;amp;tab=0&amp;amp;width=&amp;amp;height=&amp;amp;face=undefined&amp;amp;ist=&amp;amp;jit=&amp;amp;cg=&amp;amp;bdtype=0&amp;amp;oriquery=&amp;amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;amp;gsm=1c&amp;amp;rpstart=0&amp;amp;rpnum=0&amp;amp;islist=&amp;amp;querylist=&amp;amp;force=undefined]for original source.]]&lt;br /&gt;
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The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)&lt;br /&gt;
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The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made from materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the strings to the left of the bridges. (Gao Yiwei 2020, 39)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)&lt;br /&gt;
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Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)&lt;br /&gt;
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In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.&lt;br /&gt;
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.&lt;br /&gt;
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. &lt;br /&gt;
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.&lt;br /&gt;
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.&lt;br /&gt;
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.&lt;br /&gt;
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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*Meng Tian 蒙恬 &lt;br /&gt;
*Zhao Lin 赵璘&lt;br /&gt;
*''Records on Words'' 《因话录》&lt;br /&gt;
*anterior mountain 前岳山 &lt;br /&gt;
*posterior mountain 后岳山&lt;br /&gt;
*''Yan Zhu'' 雁柱 &lt;br /&gt;
*string pegs 弦钉&lt;br /&gt;
*turning box 调音盒 &lt;br /&gt;
*zither feet 琴足&lt;br /&gt;
*paulownia 桐木 &lt;br /&gt;
*mahogany 红木&lt;br /&gt;
*''Dai Mao'' 玳瑁&lt;br /&gt;
*''Yi Jia'' 义甲&lt;br /&gt;
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹&lt;br /&gt;
*''High Mountains and Running Water'' 《高山流水》&lt;br /&gt;
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》&lt;br /&gt;
*''Jackdaw Playing in the Water'' 《寒鸦戏水》&lt;br /&gt;
*''The Tune of Liu Qing Niang'' 《柳青娘》&lt;br /&gt;
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香&lt;br /&gt;
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望&lt;br /&gt;
*''National Music Ceremony'' 《国乐大典》&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What kind of musical instrument does the ''guzheng'' belong to?&lt;br /&gt;
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2. Why the ''guzheng'' is deeply loved by Chinese? &lt;br /&gt;
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3. Who is Meng Tian? &lt;br /&gt;
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4. According to the legend, how did the ''se'' develop into the ''zheng''?&lt;br /&gt;
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5. How many strings does the ''guzheng'' have? How long is the guzheng?&lt;br /&gt;
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6. What is the function of movable bridges?&lt;br /&gt;
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7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? &lt;br /&gt;
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8. In ancient times, what materials were the fingerpicks made of?&lt;br /&gt;
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9. Generally speaking, how does the players strike notes? &lt;br /&gt;
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10. What styles can ''guzheng'' be divided into?&lt;br /&gt;
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11. Which school does ''The Autumn Moon in the Han Palace'' belong to? &lt;br /&gt;
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12. Do you know any other ''guzheng'' music? Please list some pieces.&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. It belongs to plucked stringed instruments.&lt;br /&gt;
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2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. &lt;br /&gt;
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3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.&lt;br /&gt;
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4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. &lt;br /&gt;
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5. It usually has 21 strings and is 163 centimeters long. &lt;br /&gt;
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6. They are moved to change the timbres.&lt;br /&gt;
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7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.&lt;br /&gt;
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8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.&lt;br /&gt;
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9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. &lt;br /&gt;
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10. The Northern school and the Southern school.&lt;br /&gt;
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11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.&lt;br /&gt;
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12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).&lt;br /&gt;
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==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581. Major:.........&lt;br /&gt;
===Facial makeup===&lt;br /&gt;
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Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62) （seperate the paragraph --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 14:53, 17 December 2020 (UTC)）&lt;br /&gt;
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Facial makeup, a sort of makeup art used in stage performance, is painted on the faces of traditional opera singers in China and varies when it comes to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with strict moral codes; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:13, 18 December 2020 (UTC)&lt;br /&gt;
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People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)&lt;br /&gt;
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People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous, good-looking and was bound to win every battle in which he worn a mask that seemed frightening. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.( I think the military service and merits maybe inappropriate here, please replace them with better words)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:34, 18 December 2020 (UTC)&lt;br /&gt;
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The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)&lt;br /&gt;
&lt;br /&gt;
The legendary drama played a dominant role in Ming Dynasty, which is rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brows and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in facial makeup of jing. (The meaning of “ The pattern ratio has changed as well” is vague, please detail it.)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 10:04, 18 December 2020 (UTC)&lt;br /&gt;
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Red&lt;br /&gt;
&lt;br /&gt;
Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.&lt;br /&gt;
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Black&lt;br /&gt;
&lt;br /&gt;
Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.&lt;br /&gt;
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Black facial makeup gives people the impression that the actor is serious, and rarely smile and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 10:04, 18 December 2020 (UTC)&lt;br /&gt;
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White&lt;br /&gt;
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White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.&lt;br /&gt;
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White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:28, 18 December 2020 (UTC)&lt;br /&gt;
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Blue&lt;br /&gt;
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Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.&lt;br /&gt;
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Purple&lt;br /&gt;
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Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.&lt;br /&gt;
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Golden&lt;br /&gt;
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Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
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Golden facial makeup symbolizes dignity and power fitting roles like supernatural beings such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
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The features of facial makeup are mainly as follows:&lt;br /&gt;
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)&lt;br /&gt;
&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese start to explore the mystery of it.(Cao Juan, 2019, 61)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:28, 18 December 2020 (UTC)&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
painted face 花脸&lt;br /&gt;
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clown 丑角&lt;br /&gt;
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Sheng 生&lt;br /&gt;
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Dan 旦&lt;br /&gt;
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Jing 净&lt;br /&gt;
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Chou 丑&lt;br /&gt;
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Qingyi 青衣&lt;br /&gt;
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xiaosheng 小生&lt;br /&gt;
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laosheng 老生&lt;br /&gt;
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wusheng 武生&lt;br /&gt;
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Gao Changgong 高长恭&lt;br /&gt;
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legend，romance 传奇剧&lt;br /&gt;
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Erlang Shen, Erlang 二郎神&lt;br /&gt;
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Tathagata, Buddha 如来佛&lt;br /&gt;
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Sakyamuni 释迦牟尼&lt;br /&gt;
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Water Margin of the Marsh 水浒传&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1.How many types are character roles divided into in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
2.What are the differences bbetween Sheng and Dan?&lt;br /&gt;
&lt;br /&gt;
3.What are the special features of Chou?&lt;br /&gt;
&lt;br /&gt;
4.What is the function of facial mask in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
5.What are the main features of facial makeup?&lt;br /&gt;
&lt;br /&gt;
6.What are the characteristics of characters wearing blue facial makeup?&lt;br /&gt;
===Answers===&lt;br /&gt;
1.Four types:Sheng, Dan, Jing and Chou.&lt;br /&gt;
&lt;br /&gt;
2.Sheng refers to male roles while Dan refers to female roles.&lt;br /&gt;
&lt;br /&gt;
3.A patch of white powder is wiped on their nose.&lt;br /&gt;
&lt;br /&gt;
4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. &lt;br /&gt;
&lt;br /&gt;
5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.&lt;br /&gt;
&lt;br /&gt;
6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.&lt;br /&gt;
&lt;br /&gt;
Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.&lt;br /&gt;
&lt;br /&gt;
Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.&lt;br /&gt;
&lt;br /&gt;
==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==&lt;br /&gt;
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=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===&lt;br /&gt;
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Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.&lt;br /&gt;
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====1.Liu Cixin（刘慈欣）====&lt;br /&gt;
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Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)&lt;br /&gt;
&lt;br /&gt;
Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. &lt;br /&gt;
&lt;br /&gt;
Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &amp;quot;Supernova Era&amp;quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)&lt;br /&gt;
&lt;br /&gt;
Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy &amp;quot;Memory of the Earth's Past&amp;quot; - the novel &amp;quot;The Problem of Three Bodies&amp;quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &amp;quot;The Three-Body Problem,&amp;quot; although this is not formally true.&lt;br /&gt;
&lt;br /&gt;
Interesting fact: Such famous people as Barack Obama and Mark Zuckerberg called this book the best and recommended it for everyone to read.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)&lt;br /&gt;
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In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.&lt;br /&gt;
&lt;br /&gt;
Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.&lt;br /&gt;
&lt;br /&gt;
In this section, I would recommend adding authors whose books Liu Cixin recommends reading.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)&lt;br /&gt;
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====2.Chen Qiufan (陈楸帆） ====&lt;br /&gt;
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Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.&lt;br /&gt;
&lt;br /&gt;
Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.&lt;br /&gt;
&lt;br /&gt;
His debut book was ''The Empty Wave'', &amp;quot;combining realism and allegory to represent the hybridity of humans and machines.&amp;quot; Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian.&lt;br /&gt;
 &lt;br /&gt;
His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.&lt;br /&gt;
&lt;br /&gt;
An interesting fact that can also be added: In a year he watches about 100 films and reads 50 books in any way related to science fiction and Cyberpunk.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
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====3.Rebecca F. Kuang (匡蘦秀)====&lt;br /&gt;
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When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.&lt;br /&gt;
&lt;br /&gt;
Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.&lt;br /&gt;
&lt;br /&gt;
Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.&lt;br /&gt;
&lt;br /&gt;
Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.&lt;br /&gt;
&lt;br /&gt;
I also suggest adding that she has been involved in several new projects at the moment, such as the well-known Star Wars. Can you write something about this?--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Don't forget to add sources at the end of each paragraph.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Science fiction - 科幻&lt;br /&gt;
&lt;br /&gt;
2. Fantasy - 奇幻&lt;br /&gt;
&lt;br /&gt;
3. Horizon - 地平线&lt;br /&gt;
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4. Broad - 拓宽&lt;br /&gt;
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5. Hybrid - 杂种&lt;br /&gt;
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6. The plot - 情节&lt;br /&gt;
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7. Garbage - 垃圾堆&lt;br /&gt;
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8. Heyday - 壮年&lt;br /&gt;
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9. Supernova - 超新星&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What was the first book written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
2. What is the most popular trilogy of books written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
3. Who is called Chinese William Gibson?&lt;br /&gt;
&lt;br /&gt;
4. What is Rebecca Quang's Opium War plot based on?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Supernova Era&lt;br /&gt;
&lt;br /&gt;
2. Memory of the Earth's Past&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan (陈楸帆）&lt;br /&gt;
&lt;br /&gt;
4. The plot is largely based on the history of China in the middle of the 20th century.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html&lt;br /&gt;
&lt;br /&gt;
2. Liu Cixin, Supernova Era, 2019. 352 pp.&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan, Waste Tide, 2019. 342 pp.&lt;br /&gt;
&lt;br /&gt;
4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.&lt;br /&gt;
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==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==&lt;br /&gt;
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
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===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===&lt;br /&gt;
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&amp;lt;center&amp;gt;Chen Yongxiang 陈永相 英语笔译 202070080582&amp;lt;/center&amp;gt;&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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Stilt is one of the folk dances of the Han nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)&lt;br /&gt;
&lt;br /&gt;
Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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&lt;br /&gt;
As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)&lt;br /&gt;
&lt;br /&gt;
There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
Miliangtun (village name) 米粮屯&lt;br /&gt;
&lt;br /&gt;
stilts 高跷&lt;br /&gt;
&lt;br /&gt;
intangible cultural heritage 非物质文化遗产&lt;br /&gt;
&lt;br /&gt;
folk dance 民间舞蹈&lt;br /&gt;
&lt;br /&gt;
Toutou 陀头&lt;br /&gt;
&lt;br /&gt;
Laozuozi 老坐子 &lt;br /&gt;
&lt;br /&gt;
young boy 小二哥&lt;br /&gt;
&lt;br /&gt;
young master 公子&lt;br /&gt;
&lt;br /&gt;
Mr.Plaster 药先生&lt;br /&gt;
&lt;br /&gt;
Choupo 丑婆&lt;br /&gt;
&lt;br /&gt;
fisherman渔翁&lt;br /&gt;
&lt;br /&gt;
Yupo 渔婆 &lt;br /&gt;
&lt;br /&gt;
wood-cutter 柴翁&lt;br /&gt;
&lt;br /&gt;
handsome and ugly drum-players 俊鼓和丑鼓&lt;br /&gt;
&lt;br /&gt;
handsome and ugly gong-players 俊锣和丑锣&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Where does Miliangtun Village Stilts originate?&lt;br /&gt;
&lt;br /&gt;
2. How many years of history does Miliangtun Village Stilts have?&lt;br /&gt;
&lt;br /&gt;
3. How many roles in Miliangtun Village Stilts?&lt;br /&gt;
&lt;br /&gt;
4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?&lt;br /&gt;
&lt;br /&gt;
5. How long is the shortest and the longest stilts?&lt;br /&gt;
&lt;br /&gt;
====Answers====&lt;br /&gt;
&lt;br /&gt;
1. Wangzuo Town, Fengtai District, Beijing.&lt;br /&gt;
&lt;br /&gt;
2. More than 250 years.&lt;br /&gt;
&lt;br /&gt;
3. 13.&lt;br /&gt;
&lt;br /&gt;
4. In 2006.&lt;br /&gt;
&lt;br /&gt;
5. The shortest stilt is two feet long, and the longest reaches over five feet.&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.&lt;br /&gt;
&lt;br /&gt;
Sun Miao 孙淼. (2018). &amp;quot;一跷多艺&amp;quot;: 胜芳高跷会的舞体表征与比较研究. [&amp;quot;Multi-skills with one stilt&amp;quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.&lt;br /&gt;
&lt;br /&gt;
Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin&lt;br /&gt;
&lt;br /&gt;
Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&amp;amp;wfr=spider&amp;amp;for=pc&lt;br /&gt;
&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)&lt;br /&gt;
&lt;br /&gt;
Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.&lt;br /&gt;
&lt;br /&gt;
When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
===Northern lion dancing===&lt;br /&gt;
&lt;br /&gt;
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Southern lion dancing===&lt;br /&gt;
&lt;br /&gt;
Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Western Regions 西域&lt;br /&gt;
&lt;br /&gt;
mount 坐骑&lt;br /&gt;
&lt;br /&gt;
Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
&lt;br /&gt;
gong 锣&lt;br /&gt;
&lt;br /&gt;
northern lion dancing 南狮&lt;br /&gt;
&lt;br /&gt;
southern lion dancing 北狮&lt;br /&gt;
&lt;br /&gt;
colorful silk ball 绣球&lt;br /&gt;
&lt;br /&gt;
wooden stakes 木桩&lt;br /&gt;
&lt;br /&gt;
spiritual resemblance神似&lt;br /&gt;
&lt;br /&gt;
Liu Bei lion 刘备狮&lt;br /&gt;
&lt;br /&gt;
Guan Gong lion 关公狮&lt;br /&gt;
&lt;br /&gt;
Zhang Fei lion 张飞狮&lt;br /&gt;
&lt;br /&gt;
sworn brothers 结义兄弟&lt;br /&gt;
&lt;br /&gt;
horse stances 马步&lt;br /&gt;
&lt;br /&gt;
Cai Qing 采青&lt;br /&gt;
&lt;br /&gt;
lettuces 生菜&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. How long is the history of lion dance in China?&lt;br /&gt;
&lt;br /&gt;
2. Why did people gradually accept lion as a sacred animal?&lt;br /&gt;
&lt;br /&gt;
3. Why did people use lion dance to celebrate the New Year?&lt;br /&gt;
&lt;br /&gt;
4. What is the main difference between southern lion dancing and northern lion dancing?&lt;br /&gt;
&lt;br /&gt;
5. What is the center of southern lion dancing?&lt;br /&gt;
&lt;br /&gt;
6. How many colors are there in the heads of southern lions? And what are they?&lt;br /&gt;
&lt;br /&gt;
7. What is “Cai Qing”? And what do you know about “Cai Qing”?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It is with a history of about 2000 years.&lt;br /&gt;
&lt;br /&gt;
2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.&lt;br /&gt;
&lt;br /&gt;
3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
&lt;br /&gt;
4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.&lt;br /&gt;
&lt;br /&gt;
5. It is in southern China’s Guangdong province.&lt;br /&gt;
&lt;br /&gt;
6. The head of southern lion has three colors, namely black, red and yellow.&lt;br /&gt;
&lt;br /&gt;
7. It means &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.&lt;br /&gt;
&lt;br /&gt;
Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.&lt;br /&gt;
&lt;br /&gt;
Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.&lt;br /&gt;
&lt;br /&gt;
Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.&lt;br /&gt;
&lt;br /&gt;
==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==&lt;br /&gt;
===A. The Eight Tang-Song Prose Masters===&lt;br /&gt;
[[File:Tang Song Ba Da Jia.jpg]]&lt;br /&gt;
&lt;br /&gt;
===Brief Introduction of The Eight Tang-Song Prose Masters===&lt;br /&gt;
&lt;br /&gt;
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） &lt;br /&gt;
&lt;br /&gt;
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and &amp;quot;Three Su&amp;quot;(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called &amp;quot;Three Su&amp;quot;. What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)&lt;br /&gt;
&lt;br /&gt;
In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''1. Han Yu'''&lt;br /&gt;
[[File:Han Yu.jpg]]&lt;br /&gt;
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Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)&lt;br /&gt;
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Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)&lt;br /&gt;
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Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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'''2. Liu Zongyuan'''&lt;br /&gt;
[[File:Liu Zongyuan.jpg]]&lt;br /&gt;
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Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong &amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as&amp;quot; Liu Liuzhou &amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.&lt;br /&gt;
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Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong&amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as &amp;quot;Liu Liuzhou&amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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He was juxtaposed with Han Yu as &amp;quot;Han Liu &amp;quot;, with Liu Yuxi as &amp;quot; Liu Liu &amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu &amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)&lt;br /&gt;
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He was juxtaposed with Han Yu as &amp;quot;Han Liu&amp;quot;, with Liu Yuxi as &amp;quot;Liu Liu&amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu&amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)&lt;br /&gt;
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He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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'''3. Ouyang Xiu'''&lt;br /&gt;
[[File:Ouyang Xiu.jpg]]&lt;br /&gt;
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Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.&lt;br /&gt;
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Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.&lt;br /&gt;
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Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)&lt;br /&gt;
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Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''4. Su Xun'''&lt;br /&gt;
[[File:Su Xun.jpg]]&lt;br /&gt;
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Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.&lt;br /&gt;
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Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world &amp;quot;, to&amp;quot; apply to the present &amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)&lt;br /&gt;
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Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world&amp;quot;, to &amp;quot;apply to the present&amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''5. Su Shi'''&lt;br /&gt;
[[File:Su Shi.jpg]]&lt;br /&gt;
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Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .&lt;br /&gt;
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Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)&lt;br /&gt;
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Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.&lt;br /&gt;
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Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''6. Su Zhe'''&lt;br /&gt;
[[File:Su Zhe.jpg]]&lt;br /&gt;
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Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States.  From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)&lt;br /&gt;
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Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''7. Wang Anshi'''&lt;br /&gt;
[[File:Wang Anshi.jpg]]&lt;br /&gt;
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Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .&lt;br /&gt;
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Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)&lt;br /&gt;
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Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''8. Zeng Gong'''&lt;br /&gt;
[[File:Zeng Gong.jpg]]&lt;br /&gt;
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Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
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Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot;, including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.&lt;br /&gt;
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Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''9. Comparison between the Ancient Prose Movement and Renaissance'''&lt;br /&gt;
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Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)&lt;br /&gt;
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Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in ideology:&lt;br /&gt;
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The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.&lt;br /&gt;
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The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in writing style:&lt;br /&gt;
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The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)&lt;br /&gt;
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The two retro movements were marked by the retro style to restore the creation mode of ancient proses, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in literary form:&lt;br /&gt;
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The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&amp;quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)&lt;br /&gt;
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The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: &amp;quot;Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
The Eight Tang-Song Prose Masters 唐宋八大家&lt;br /&gt;
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Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》&lt;br /&gt;
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Ancient Prose Movement 古文运动&lt;br /&gt;
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parallel prose 骈文&lt;br /&gt;
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The Decline of Eight Generations 文起八代之衰&lt;br /&gt;
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The Article Giant 文章巨公&lt;br /&gt;
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Admired Literate of One Hundred Generations 百代文宗&lt;br /&gt;
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Han Changli Collection 《韩昌黎集》&lt;br /&gt;
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External collection 《外集》&lt;br /&gt;
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The Teacher's Theory《师说》&lt;br /&gt;
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Pre-Qin and Han Dynasties 先秦两汉时期&lt;br /&gt;
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writing in classical Chinese 文言文&lt;br /&gt;
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feudal provincial of Liuzhou 柳州刺史&lt;br /&gt;
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official supervisor of imperial censor 监察御史&lt;br /&gt;
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Liu He Dong Colloection 《柳河东集》&lt;br /&gt;
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Northern Song Dynasty 北宋&lt;br /&gt;
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a thousand volumes of collections of inscriptions 金石遗文一千卷&lt;br /&gt;
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Xia, Shang, Zhou Dynasties 三代&lt;br /&gt;
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the crown of that time 一时之冠&lt;br /&gt;
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Southern Tang Dynasty 南唐&lt;br /&gt;
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Yu Feng 余风&lt;br /&gt;
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The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》&lt;br /&gt;
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the Northern Song Dynasty poetry innovation movement北宋诗文革新运动&lt;br /&gt;
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Heng Lun 《衡论》&lt;br /&gt;
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Duke Jingguo 荆国公&lt;br /&gt;
 &lt;br /&gt;
The Book to the Emperor 《上皇帝书》&lt;br /&gt;
&lt;br /&gt;
Dongpo Jushi 东坡居士&lt;br /&gt;
&lt;br /&gt;
Ci writer 词人&lt;br /&gt;
&lt;br /&gt;
Unconstrained Ci School豪放派&lt;br /&gt;
&lt;br /&gt;
literary and artistic attainments 文学艺术造诣&lt;br /&gt;
&lt;br /&gt;
the first all-round talent in ancient China 中国古代第一全才&lt;br /&gt;
&lt;br /&gt;
Su Men Four bachelors 苏门四学士&lt;br /&gt;
&lt;br /&gt;
the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》&lt;br /&gt;
&lt;br /&gt;
The New Theory《新论》&lt;br /&gt;
&lt;br /&gt;
On the Six Kingdoms 《六国论》&lt;br /&gt;
&lt;br /&gt;
Ode 赋&lt;br /&gt;
&lt;br /&gt;
The Ode to Ink bamboo 《墨竹赋》&lt;br /&gt;
&lt;br /&gt;
Seven Zengs of Nanfeng 南丰七曾&lt;br /&gt;
&lt;br /&gt;
the doctrine before the text先道后文&lt;br /&gt;
&lt;br /&gt;
the Book to Ouyang She Ren 《上欧阳舍人书》&lt;br /&gt;
&lt;br /&gt;
the Book to Bachelor Cai 《上蔡学士书》&lt;br /&gt;
&lt;br /&gt;
the Six Dynasties 六朝&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
1.Who are the pioneers of the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2.Which kind of prose they advocate in the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
3.Do you know any representatives of Liu Zongyuan?&lt;br /&gt;
&lt;br /&gt;
4.Why Ouyang Xiu is called &amp;quot;Liu Yi Scholar&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
5.What’s the relationship among Su Xun, Su Shi and Su Zhe?&lt;br /&gt;
&lt;br /&gt;
6.Who are the &amp;quot;Seven Zengs of Nanfeng&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
7.Do you know any about the Renaissance?&lt;br /&gt;
&lt;br /&gt;
===D. Answers===&lt;br /&gt;
&lt;br /&gt;
1.Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2.The prose of Pre-Qin and Han Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.The &amp;quot;Liu He Dong Colloection&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.&lt;br /&gt;
&lt;br /&gt;
5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.&lt;br /&gt;
&lt;br /&gt;
6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
&lt;br /&gt;
7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.&lt;br /&gt;
&lt;br /&gt;
Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.&lt;br /&gt;
&lt;br /&gt;
He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.&lt;br /&gt;
&lt;br /&gt;
Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.&lt;br /&gt;
&lt;br /&gt;
Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.&lt;br /&gt;
&lt;br /&gt;
Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).&lt;br /&gt;
&lt;br /&gt;
Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).&lt;br /&gt;
&lt;br /&gt;
Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.&lt;br /&gt;
&lt;br /&gt;
Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.&lt;br /&gt;
&lt;br /&gt;
==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==&lt;br /&gt;
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
===1. A Brief Introduction===&lt;br /&gt;
&lt;br /&gt;
[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;src=srp&amp;amp;correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;ancestor=list&amp;amp;cmsid=b749b87b72b5c9427d6560a39d41548f&amp;amp;cmras=6&amp;amp;cn=0&amp;amp;gn=0&amp;amp;kn=0&amp;amp;crn=0&amp;amp;bxn=0&amp;amp;fsn=60&amp;amp;cuben=0&amp;amp;pornn=0&amp;amp;manun=0&amp;amp;adstar=0&amp;amp;clw=247#id=22b2926be2637560e928bbc9318219fb&amp;amp;currsn=0&amp;amp;ps=58&amp;amp;pc=58]for original source.]]&lt;br /&gt;
&lt;br /&gt;
Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)&lt;br /&gt;
&lt;br /&gt;
Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing)&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2.The Development of Pipa===&lt;br /&gt;
&lt;br /&gt;
The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) &lt;br /&gt;
&lt;br /&gt;
During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
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During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
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During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often  cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
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===3.Pipa Schools and Their Chracteristics===&lt;br /&gt;
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The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)&lt;br /&gt;
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The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
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(1)The Wuxi school&lt;br /&gt;
&lt;br /&gt;
The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)&lt;br /&gt;
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The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
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(2)The Pinghu school&lt;br /&gt;
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The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10)&lt;br /&gt;
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The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
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(3)The Pudong School &lt;br /&gt;
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Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)&lt;br /&gt;
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Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)&lt;br /&gt;
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(4)The Chongming school&lt;br /&gt;
&lt;br /&gt;
The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)&lt;br /&gt;
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The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)&lt;br /&gt;
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(5)The Shanghai school&lt;br /&gt;
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This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)&lt;br /&gt;
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===4.Traditional Pipa Music===&lt;br /&gt;
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Traditional pipa music can be divided into military songs, literary songs and military-literary songs.&lt;br /&gt;
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Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &amp;quot;Ambush on All Sides&amp;quot;, &amp;quot;Bury Me High&amp;quot;, &amp;quot;Hai Qing Hunting the Swan&amp;quot;, &amp;quot;General Order in the Han Dynasty&amp;quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)&lt;br /&gt;
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Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on.&lt;br /&gt;
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Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)&lt;br /&gt;
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Military-literary song is the combination of martial song and literary song. The representative songs are &amp;quot;The Spring Snow&amp;quot;, &amp;quot;High Mountain and Flowing Water&amp;quot;, &amp;quot;Dragon Boat&amp;quot;, &amp;quot;Flute and Drum at Sunset&amp;quot; and so on.&lt;br /&gt;
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===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
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*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020&lt;br /&gt;
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*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.&lt;br /&gt;
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*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.&lt;br /&gt;
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*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.&lt;br /&gt;
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[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
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===6.Terms and Expressions===&lt;br /&gt;
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*弹拨乐器—plucked instruments&lt;br /&gt;
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*汉化—Chinesization&lt;br /&gt;
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*套曲—divertimentoes&lt;br /&gt;
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*游牧民族—nomad tribe&lt;br /&gt;
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*宫廷乐—court music&lt;br /&gt;
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*轮指法—tremolo&lt;br /&gt;
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*音色—timbre&lt;br /&gt;
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*曲目—repertoire&lt;br /&gt;
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*并弦—parallel string&lt;br /&gt;
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*指法—fingering techniques&lt;br /&gt;
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===7.Questions===&lt;br /&gt;
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1、How many stages did pipa go through during its development?&lt;br /&gt;
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2、What characteristics did pipa have during Wei and Jin dynasties?&lt;br /&gt;
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3、What changes had been made to pipa during Ming and Qing dynasties?&lt;br /&gt;
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4、How many schools does pipa have and what are they?&lt;br /&gt;
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5、Can you list at least 3 representative repertoires of literary songs played by pipa? &lt;br /&gt;
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===8.Answers===&lt;br /&gt;
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1、Four.&lt;br /&gt;
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2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.&lt;br /&gt;
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3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. &lt;br /&gt;
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4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.   &lt;br /&gt;
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5、&amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; .&lt;br /&gt;
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[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
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==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==&lt;br /&gt;
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=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === &lt;br /&gt;
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The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?&lt;br /&gt;
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'''1. Huli-jing (狐狸精) in China'''&lt;br /&gt;
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First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.&lt;br /&gt;
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People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.&lt;br /&gt;
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People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.&lt;br /&gt;
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The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.&lt;br /&gt;
&lt;br /&gt;
The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.&lt;br /&gt;
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &amp;quot;Good Hunt&amp;quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.&lt;br /&gt;
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In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &amp;quot;Painted Skin (畫皮)&amp;quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.&lt;br /&gt;
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In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.&lt;br /&gt;
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Quite a lot of information about werewolf foxes can be obtained from the TV series &amp;quot;The Legend of the Nine-Tailed Fox&amp;quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.&lt;br /&gt;
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Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.&lt;br /&gt;
&lt;br /&gt;
To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.&lt;br /&gt;
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'''2. Kitsune (キツネ) in Japan''' &lt;br /&gt;
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In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&amp;quot;Fox-messenger&amp;quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.&lt;br /&gt;
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Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.&lt;br /&gt;
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Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.&lt;br /&gt;
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Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
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A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. &lt;br /&gt;
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'''3. Kumiho (구미호) in Korea'''&lt;br /&gt;
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Kumiho - (구 &amp;quot;ku&amp;quot; - nine, 미 &amp;quot;mi&amp;quot; - tail, 호 &amp;quot;ho&amp;quot; - fox - &amp;quot;fox with nine tails&amp;quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.&lt;br /&gt;
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In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Shape shifter – 成精&lt;br /&gt;
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Creature –生物&lt;br /&gt;
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Seductive –诱人的&lt;br /&gt;
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Damnation –诅咒&lt;br /&gt;
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Metaphor –隐喻&lt;br /&gt;
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Ascribe –属性&lt;br /&gt;
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Indigenous –土着&lt;br /&gt;
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Deity – 反面人物&lt;br /&gt;
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Liver – 肝脏&lt;br /&gt;
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===References===&lt;br /&gt;
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1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.&lt;br /&gt;
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2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.&lt;br /&gt;
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3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What was the attitude towards the Huli Jing in Ancient China?&lt;br /&gt;
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2. Can we characterize Kitsune as a positive or negative character?&lt;br /&gt;
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3. Could Kumiho become human forever?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.&lt;br /&gt;
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2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.&lt;br /&gt;
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3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.&lt;br /&gt;
References ..................&lt;br /&gt;
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==Chinese Characters - Gu Dongfang 顾东方==&lt;br /&gt;
Chinese Characters&lt;br /&gt;
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===Origin===&lt;br /&gt;
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Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）&lt;br /&gt;
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===Evolution of Chinese characters===&lt;br /&gt;
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]&lt;br /&gt;
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)&lt;br /&gt;
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===Ancient Chinese characters===&lt;br /&gt;
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====Oracle bone script====&lt;br /&gt;
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Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).&lt;br /&gt;
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====Bronze script====&lt;br /&gt;
&lt;br /&gt;
In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.&lt;br /&gt;
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====Seal script====&lt;br /&gt;
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. &lt;br /&gt;
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.&lt;br /&gt;
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Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.&lt;br /&gt;
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)&lt;br /&gt;
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===Modern characters===&lt;br /&gt;
====Clerical script====&lt;br /&gt;
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After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.&lt;br /&gt;
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.&lt;br /&gt;
&lt;br /&gt;
After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)&lt;br /&gt;
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====Regular script====&lt;br /&gt;
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Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. quote missing --[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:43, 18 December 2020 (UTC)&lt;br /&gt;
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===Formation of Chinese characters===&lt;br /&gt;
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====Pictograms====&lt;br /&gt;
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Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &amp;quot;sun,&amp;quot; 月 (yuè) for &amp;quot;moon,&amp;quot; and 木 (mù) for &amp;quot;tree.&amp;quot;&lt;br /&gt;
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====Pictophonetic compounds====&lt;br /&gt;
&lt;br /&gt;
Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:48, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Ideograph ====&lt;br /&gt;
&lt;br /&gt;
Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &amp;quot;knife,&amp;quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &amp;quot;blade.&amp;quot; Other common examples are 上 (shàng) for &amp;quot;up&amp;quot; and 下 (xià) for &amp;quot;down.&amp;quot; This category is small, as most concepts can be represented by characters in other categories. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:53, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Logical aggregates====&lt;br /&gt;
&lt;br /&gt;
Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Associate transformation====&lt;br /&gt;
&lt;br /&gt;
Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &amp;quot;elderly person,&amp;quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Borrowing ====&lt;br /&gt;
&lt;br /&gt;
Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)&lt;br /&gt;
&lt;br /&gt;
===Simplification of Chinese characters===&lt;br /&gt;
&lt;br /&gt;
The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)  quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:03, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and expressions===&lt;br /&gt;
&lt;br /&gt;
1.Oracle Bone Inscriptions  甲骨文&lt;br /&gt;
&lt;br /&gt;
2.Bronze Inscriptions 金文&lt;br /&gt;
&lt;br /&gt;
3.Small seal characters 小篆&lt;br /&gt;
&lt;br /&gt;
4.Official script 隶书&lt;br /&gt;
&lt;br /&gt;
5.Regular script 楷书&lt;br /&gt;
&lt;br /&gt;
6.Cursive writing 草书&lt;br /&gt;
&lt;br /&gt;
7.Cang Jie 仓颉&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8.Clerical script 楷书&lt;br /&gt;
&lt;br /&gt;
9.Su Shi 苏轼&lt;br /&gt;
&lt;br /&gt;
10. Wang Xizhi 王羲之&lt;br /&gt;
&lt;br /&gt;
11.Ou Yangxun 欧阳询&lt;br /&gt;
&lt;br /&gt;
12.Yan Zhenqing 颜真卿&lt;br /&gt;
&lt;br /&gt;
13.Pictograms 象形&lt;br /&gt;
&lt;br /&gt;
14. Pictophonetic compounds 指事&lt;br /&gt;
&lt;br /&gt;
15.Ideograph 会意&lt;br /&gt;
&lt;br /&gt;
16.Logical aggregates 形声&lt;br /&gt;
&lt;br /&gt;
17.Associate transformation 转注&lt;br /&gt;
&lt;br /&gt;
18.Borrowing 假借&lt;br /&gt;
&lt;br /&gt;
===Question===&lt;br /&gt;
1.How many Chinese characters are there?&lt;br /&gt;
&lt;br /&gt;
2.How many letters are in the Chinese alphabet?&lt;br /&gt;
&lt;br /&gt;
3. How many formations of Chinese characters? What are they?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .&lt;br /&gt;
&lt;br /&gt;
2. There are 26 letters in Chinese alphabet.&lt;br /&gt;
&lt;br /&gt;
3. Six formations are included in Chinese characters system, and they are Pictograms&lt;br /&gt;
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1.王显春. 汉字的起源[M]. 学林出版社, 2002.&lt;br /&gt;
&lt;br /&gt;
2.刘又辛. &amp;quot;关于汉字发展史的几个问题(上).&amp;quot; 语文建设 12(1998):34-37.&lt;br /&gt;
&lt;br /&gt;
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188&lt;br /&gt;
&lt;br /&gt;
4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia,  https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.&lt;br /&gt;
&lt;br /&gt;
==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===A.Chinese Knots===&lt;br /&gt;
&lt;br /&gt;
====1.A Brief Introduction about Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It &lt;br /&gt;
originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.&lt;br /&gt;
&lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional  decoration and aesthetics,which &lt;br /&gt;
earned the knot its name.&lt;br /&gt;
&lt;br /&gt;
====2.The Classification of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥&lt;br /&gt;
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井&lt;br /&gt;
结）,Cross Knot(十字结） and Ping Knot（平结）.&lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. &lt;br /&gt;
&lt;br /&gt;
=====2.1.The Double Coin Knot=====&lt;br /&gt;
&lt;br /&gt;
Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views &lt;br /&gt;
on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only &lt;br /&gt;
represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &amp;quot;luck money&amp;quot;. Therefore, for &lt;br /&gt;
the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes &lt;br /&gt;
&amp;quot;good things come in pairs&amp;quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful &lt;br /&gt;
patterns, such as clouds and Perfect Knots，etc.&lt;br /&gt;
&lt;br /&gt;
=====2.2.The Good Luck Knot=====&lt;br /&gt;
&lt;br /&gt;
As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.&lt;br /&gt;
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.&lt;br /&gt;
&lt;br /&gt;
=====2.3.The Pan Chang Knot=====&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the &lt;br /&gt;
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is &lt;br /&gt;
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.&lt;br /&gt;
&lt;br /&gt;
====3.The Knitting Method of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of  basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.&lt;br /&gt;
&lt;br /&gt;
The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.&lt;br /&gt;
&lt;br /&gt;
====4.The Cultural Connotations of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of &lt;br /&gt;
rope and thread.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. In addition, Chinese people are descendants of &lt;br /&gt;
dragons.Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &lt;br /&gt;
&amp;quot;knot&amp;quot;, which means reunion and happiness. Many of the Chinese words composed of &amp;quot;结&amp;quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交&lt;br /&gt;
（making friends), and 永结同心（tie the knot),etc. &amp;quot;结&amp;quot;(knot) is also homonymous with &amp;quot;吉&amp;quot;（ausipiciousness), so people even think that &amp;quot;knot&amp;quot; is a symbol of good luck.&lt;br /&gt;
&lt;br /&gt;
====5.Comparisons between Chinese Knots and Cross Necklaces====&lt;br /&gt;
&lt;br /&gt;
=====5.1.Different Cultural Connotations=====&lt;br /&gt;
&lt;br /&gt;
From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of &lt;br /&gt;
Christianity. The cross, derived from the Latin &amp;quot;crux&amp;quot;, means &amp;quot;fork&amp;quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient &lt;br /&gt;
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross &lt;br /&gt;
ornaments in the west as cross necknaces are usually used to represent love and salvation.&lt;br /&gt;
&lt;br /&gt;
=====5.2.Different Shapes=====&lt;br /&gt;
&lt;br /&gt;
Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have &lt;br /&gt;
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.&lt;br /&gt;
&lt;br /&gt;
====6.References====&lt;br /&gt;
&lt;br /&gt;
*李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.&lt;br /&gt;
&lt;br /&gt;
*李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.&lt;br /&gt;
&lt;br /&gt;
*许星.路论中国结[J].丝绸,2004(02) : 46-47.&lt;br /&gt;
&lt;br /&gt;
*邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.&lt;br /&gt;
&lt;br /&gt;
*王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Double Coin Knot  双钱结&lt;br /&gt;
&lt;br /&gt;
Good Luck Knot 吉祥结&lt;br /&gt;
&lt;br /&gt;
Chinese Button Knot 纽扣结&lt;br /&gt;
&lt;br /&gt;
Sauvastika Knot 万字结&lt;br /&gt;
&lt;br /&gt;
Oxalis Knot 酢浆草结&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot 盘长结&lt;br /&gt;
&lt;br /&gt;
Round Brocade Knot 团锦结&lt;br /&gt;
&lt;br /&gt;
Caisson Celling Knot 藻井结&lt;br /&gt;
&lt;br /&gt;
Cross Knot 十字结&lt;br /&gt;
&lt;br /&gt;
Ping Knot 平结&lt;br /&gt;
&lt;br /&gt;
tie the knot 永结同心&lt;br /&gt;
&lt;br /&gt;
luck money 压岁钱&lt;br /&gt;
&lt;br /&gt;
the bishop's identity 主教职权&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the Chinese knot?&lt;br /&gt;
&lt;br /&gt;
2. Do you know the names of the main Chinese knots? What are they?&lt;br /&gt;
&lt;br /&gt;
3. What do &amp;quot;绳&amp;quot; and &amp;quot;结&amp;quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.&lt;br /&gt;
&lt;br /&gt;
2.&lt;br /&gt;
&lt;br /&gt;
3.&lt;br /&gt;
&lt;br /&gt;
==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==&lt;br /&gt;
&lt;br /&gt;
[[File:Chinese Mythology.jpg|thumb|right|Panku]]&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.&lt;br /&gt;
&lt;br /&gt;
===A. Panku Created the World===&lt;br /&gt;
&lt;br /&gt;
In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).&lt;br /&gt;
&lt;br /&gt;
At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &amp;quot;li&amp;quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).&lt;br /&gt;
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.&lt;br /&gt;
&lt;br /&gt;
===B. NuWa Created Human Beings===&lt;br /&gt;
&lt;br /&gt;
[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]&lt;br /&gt;
&lt;br /&gt;
Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).&lt;br /&gt;
&lt;br /&gt;
As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.&lt;br /&gt;
 &lt;br /&gt;
During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.&lt;br /&gt;
&lt;br /&gt;
===C. Fushi Taught the People=== &lt;br /&gt;
&lt;br /&gt;
In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .&lt;br /&gt;
&lt;br /&gt;
Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &amp;quot;trigrams&amp;quot;,  in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &amp;quot;trigrams&amp;quot; was also a mean to interpret future and consult oracle about the right ways to follow.&lt;br /&gt;
&lt;br /&gt;
Finally, Fushi gave his last gift (music) in order people  can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &amp;quot;pipa&amp;quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history.  Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. &lt;br /&gt;
&lt;br /&gt;
===D. Water War===&lt;br /&gt;
&lt;br /&gt;
Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory.  Historically, both have terrible tempers and described as a very big giants with different shapes, Gong  shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body  with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).&lt;br /&gt;
&lt;br /&gt;
Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of  the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).&lt;br /&gt;
&lt;br /&gt;
In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.&lt;br /&gt;
&lt;br /&gt;
===E. Terms and Expressions===&lt;br /&gt;
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Chinese Mythology 中国神话&lt;br /&gt;
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Panku 盤古&lt;br /&gt;
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Yin/Yang 陰陽 / 阴阳&lt;br /&gt;
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Nuwa 女媧&lt;br /&gt;
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Fushi 伏羲&lt;br /&gt;
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Water War 水战&lt;br /&gt;
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===F. Questions===&lt;br /&gt;
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1. Why an egg a good symbol for the beginning of the world?&lt;br /&gt;
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2. Why Nuwa decided to create human beings?&lt;br /&gt;
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3. What did Fushi taught to people?&lt;br /&gt;
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4. What was the cause of Gong and Zurong’s war and who won?&lt;br /&gt;
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===G. Answers===&lt;br /&gt;
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1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.&lt;br /&gt;
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2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.&lt;br /&gt;
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3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.&lt;br /&gt;
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4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.&lt;br /&gt;
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===References===&lt;br /&gt;
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1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.&lt;br /&gt;
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2. Irene Dea Collier. (2001). &amp;quot;Chinese Mythology&amp;quot;. Library of Congress Cataloging-in-Publication Data.&lt;br /&gt;
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3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg&lt;br /&gt;
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4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)&lt;br /&gt;
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==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==&lt;br /&gt;
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===Chinese gods and immortals===&lt;br /&gt;
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====Chinese mythology system====&lt;br /&gt;
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Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü &amp;amp; Gong 2014, p. 71 )&lt;br /&gt;
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Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An &amp;amp; Turner 2005, p.4)&lt;br /&gt;
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The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)&lt;br /&gt;
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Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &amp;quot;Way&amp;quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson &amp;amp; Stuart 2002, pp. 27-28)&lt;br /&gt;
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At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &amp;quot;most widely beloved Buddhist Divinity&amp;quot; with miraculous powers to assist all those who pray to her.(Buddhism, p37)&lt;br /&gt;
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====神 shén, 帝 dì and 仙 xiān====&lt;br /&gt;
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Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. dì, sometimes translated as &amp;quot;thearch&amp;quot;, implies a manifested or incarnate &amp;quot;godly&amp;quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.(Hu, 2020)&lt;br /&gt;
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There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler &amp;amp; Jeanine 2005, pp. 200-201)&lt;br /&gt;
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====Eight immortals====&lt;br /&gt;
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The Eight Immortals are a group of legendary xian (&amp;quot;immortals&amp;quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &amp;quot;Covert Eight Immortals&amp;quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng &amp;amp; Wang 1987, pp. 40-45)&lt;br /&gt;
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The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng &amp;amp; Wang 1987, pp. 45-50) &lt;br /&gt;
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The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &amp;quot;The Eight Immortals cross the sea, each reveals its divine powers&amp;quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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immortals 仙              &lt;br /&gt;
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mythology 神话，神话学&lt;br /&gt;
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cosmology 宇宙论，宇宙观    &lt;br /&gt;
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monolithic 整体（式）的&lt;br /&gt;
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the Battle of Zhuolu 涿鹿之战&lt;br /&gt;
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pantheistic 泛神论的       &lt;br /&gt;
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polytheistic 多神论的&lt;br /&gt;
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Three Pure Ones 三清&lt;br /&gt;
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anthropomorphic 人格化的&lt;br /&gt;
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tutelary 守护神            &lt;br /&gt;
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deity 神&lt;br /&gt;
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Buddha 佛                 &lt;br /&gt;
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Shakyamuni 释迦牟尼&lt;br /&gt;
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Amitabha 阿弥陀佛         &lt;br /&gt;
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Amitāyus 无量寿佛&lt;br /&gt;
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celestial 天的            &lt;br /&gt;
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Bodhisattva 菩萨          &lt;br /&gt;
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Pure Land 极乐世界         &lt;br /&gt;
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vessels 法器&lt;br /&gt;
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Covert Eight Immortals 暗八仙    &lt;br /&gt;
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Taoist 道家的，道士&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What are the topics of the Ancient mythology?&lt;br /&gt;
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2. What are the differences among shén, dì and xiān?&lt;br /&gt;
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3. What do the Eight immortals represent respectively?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.&lt;br /&gt;
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2. shén and dì corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.&lt;br /&gt;
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3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.&lt;br /&gt;
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[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.&lt;br /&gt;
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[3]Bai Yang. Chinese Huamn History. Time Literature &amp;amp; Art Press, 1987.&lt;br /&gt;
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[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp;amp; Company.&lt;br /&gt;
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[5]Buddhism, the Fulfilment of Hinduism&lt;br /&gt;
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[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.&lt;br /&gt;
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[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.&lt;br /&gt;
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[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature &amp;amp; Are Press,1987.&lt;br /&gt;
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[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.&lt;br /&gt;
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==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==&lt;br /&gt;
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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===Classical Prose Movement of late Tang Dynasty and Song Dynasty===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)&lt;br /&gt;
[suggestion:……and Confucianism Renaissance as its deep. Here, &amp;quot;deep&amp;quot; may be replaced by &amp;quot;depth&amp;quot;.&lt;br /&gt;
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word &amp;quot;and&amp;quot;)it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Development====&lt;br /&gt;
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The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)&lt;br /&gt;
[suggestion:(Here, &amp;quot;Both&amp;quot; can be replaced by &amp;quot;They both&amp;quot;.)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)&lt;br /&gt;
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word &amp;quot;writing&amp;quot; into &amp;quot;wrote&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) &lt;br /&gt;
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====Representatives====&lt;br /&gt;
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'''1.Han Yu'''&lt;br /&gt;
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Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)&lt;br /&gt;
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) &lt;br /&gt;
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Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)&lt;br /&gt;
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'''2.Liu Zongyuan'''&lt;br /&gt;
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Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &amp;quot;Jiangxue&amp;quot;. (Yang Shengli 2020, 42-44)&lt;br /&gt;
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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'''3.Ouyang Xiu'''&lt;br /&gt;
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Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)&lt;br /&gt;
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)&lt;br /&gt;
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Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)&lt;br /&gt;
[suggestion:Except(Here, you may change &amp;quot;Except&amp;quot; into &amp;quot;Besides&amp;quot;.) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Masterworks====&lt;br /&gt;
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Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)&lt;br /&gt;
[suggestion:Except for(Here, you may change &amp;quot;Except for&amp;quot; into &amp;quot;Besides&amp;quot;.) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Influence====&lt;br /&gt;
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The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
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The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家&lt;br /&gt;
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Classical Prose Movement 古文运动&lt;br /&gt;
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''Eight Records of Excursions in Yongzhou'' 《永州八记》&lt;br /&gt;
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''On Teachers'' 《师说》&lt;br /&gt;
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''New Book of Tang'' 《新唐书》&lt;br /&gt;
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''Historical Records of the Five Dynasties'' 《新五代史》&lt;br /&gt;
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''Zuiweng Tingji'' 《醉翁亭记》&lt;br /&gt;
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''Shang Zhongyong'' 《伤仲永》&lt;br /&gt;
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''On Jia Yi'' 《贾谊论》&lt;br /&gt;
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''First Ode to the Red Cliff'' 《赤壁赋》&lt;br /&gt;
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====Questions====&lt;br /&gt;
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1. Who were the first promoters of the Classical Prose Movement?&lt;br /&gt;
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2. What does the Classical Prose Movement mean?&lt;br /&gt;
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3. What's political and religious purposes of the Classical Prose Movement?&lt;br /&gt;
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====Answers====&lt;br /&gt;
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1. The first promoters of this movement were Han Yu and Liu Zongyuan.&lt;br /&gt;
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2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.&lt;br /&gt;
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3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.&lt;br /&gt;
[suggestion: The reason what…….(Here, you may change &amp;quot;what&amp;quot; into &amp;quot;why&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====References====&lt;br /&gt;
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Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.&lt;br /&gt;
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Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.&lt;br /&gt;
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Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.&lt;br /&gt;
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Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.&lt;br /&gt;
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Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.&lt;br /&gt;
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Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.&lt;br /&gt;
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Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.&lt;br /&gt;
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==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==&lt;br /&gt;
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===The Chinese Red Envelope and Lucky money tradition===&lt;br /&gt;
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In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.&lt;br /&gt;
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====The Legend====&lt;br /&gt;
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In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
&lt;br /&gt;
One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
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There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.&lt;br /&gt;
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====The tradition====&lt;br /&gt;
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The Chinese custom of lucky money is called &amp;quot;Hongbao&amp;quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &amp;quot;suppressing ghosts money&amp;quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.&lt;br /&gt;
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Red envelopes, also called red packets, lucky money, or &amp;quot;hongbao&amp;quot; in Chinese, &amp;quot;li shi&amp;quot; / &amp;quot;li xi&amp;quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with  the red envelops for kids, which have money stuffed into.&lt;br /&gt;
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====Outside of China====&lt;br /&gt;
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The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.&lt;br /&gt;
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Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.&lt;br /&gt;
In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.&lt;br /&gt;
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In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.&lt;br /&gt;
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In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
Luckymoney 利市 /Lì shì/ &lt;br /&gt;
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Red envelope 紅包 /Hóngbāo/ &lt;br /&gt;
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Confucianism 儒教 /Rújiào/ &lt;br /&gt;
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Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. Do you know the origin of giving Lunar new year lucky money to children？&lt;br /&gt;
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===Answers===&lt;br /&gt;
&lt;br /&gt;
1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
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===References===&lt;br /&gt;
https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]&lt;br /&gt;
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==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==&lt;br /&gt;
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==='''The Twenty-four Solar Terms'''===&lt;br /&gt;
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
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===1. The orgin and development of the twenty-four solar terms===&lt;br /&gt;
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
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“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）&lt;br /&gt;
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&amp;quot;The 24 solar terms&amp;quot; is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is &amp;quot;&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
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By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）&lt;br /&gt;
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By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)&lt;br /&gt;
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===2. The definition and classification of the 24 solar terms===&lt;br /&gt;
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)&lt;br /&gt;
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&amp;quot;The 24 solar term&amp;quot; is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)&lt;br /&gt;
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A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word &amp;quot;meddle&amp;quot;, it should be &amp;quot;middle&amp;quot; .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)&lt;br /&gt;
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The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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===3.Folklore of the 24 solar terms===&lt;br /&gt;
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)&lt;br /&gt;
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The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &amp;quot;whipping of the spring bull&amp;quot; at the beginning of spring and the &amp;quot;tailing festival&amp;quot; at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &amp;quot;the unity of heaven and man, in accordance with the four seasons&amp;quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. &lt;br /&gt;
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The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the &amp;quot;whipping of the spring bull&amp;quot; at the beginning of spring and the &amp;quot;tailing festival&amp;quot; at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &amp;quot;the unity of heaven and man, in accordance with the four seasons&amp;quot;, the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)&lt;br /&gt;
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These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &amp;quot;biting the spring&amp;quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)&lt;br /&gt;
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These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &amp;quot;biting the spring&amp;quot; on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)&lt;br /&gt;
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===4.Importance and values of of the 24 solar terms===&lt;br /&gt;
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the &amp;quot;of&amp;quot; should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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===4.1 Importance in ancient times===&lt;br /&gt;
====4.1 Importance in Ancient Times====[the subtitle should add a mark as &amp;quot;=&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.&lt;br /&gt;
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The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). (Wang Jiahua 2019)&lt;br /&gt;
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Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and  an important manifestation and part of their colourful lives.(Wang Jiahua 2019)&lt;br /&gt;
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Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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For example, the &amp;quot;Four Beginnings&amp;quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)&lt;br /&gt;
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For example, the &amp;quot;Four Beginnings&amp;quot;(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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===4.2 Values in modern society===&lt;br /&gt;
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as &amp;quot;=&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)&lt;br /&gt;
&lt;br /&gt;
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019) &lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if &amp;quot;reflect&amp;quot; is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
the Beginning of Spring	立春&lt;br /&gt;
 	&lt;br /&gt;
Beginning of Autumn 立秋&lt;br /&gt;
&lt;br /&gt;
Rain Water 雨水 &lt;br /&gt;
&lt;br /&gt;
End of Heat 处暑&lt;br /&gt;
&lt;br /&gt;
Insects Awakening 惊蛰 	&lt;br /&gt;
&lt;br /&gt;
White Dew 白露&lt;br /&gt;
&lt;br /&gt;
Spring Equinox 春分 &lt;br /&gt;
&lt;br /&gt;
Autumnal Equinox 秋分&lt;br /&gt;
&lt;br /&gt;
Fresh Green 清明 &lt;br /&gt;
&lt;br /&gt;
Cold Dew 寒露&lt;br /&gt;
&lt;br /&gt;
Grain Rain 谷雨	&lt;br /&gt;
&lt;br /&gt;
First Frost 霜降 &lt;br /&gt;
&lt;br /&gt;
Beginning of Summer 立夏 &lt;br /&gt;
&lt;br /&gt;
Beginning of Winter 立冬&lt;br /&gt;
&lt;br /&gt;
Lesser Fullness	小满 	&lt;br /&gt;
&lt;br /&gt;
Light Snow 小雪&lt;br /&gt;
&lt;br /&gt;
Grain in Ear 芒种	&lt;br /&gt;
&lt;br /&gt;
Heavy Snow 大雪&lt;br /&gt;
&lt;br /&gt;
Summer Solstice	夏至&lt;br /&gt;
 	&lt;br /&gt;
Winter Solstice	冬至&lt;br /&gt;
&lt;br /&gt;
Lesser Heat 大暑&lt;br /&gt;
 	&lt;br /&gt;
Lesser Cold 小寒&lt;br /&gt;
&lt;br /&gt;
Greater Heat 立春 &lt;br /&gt;
	&lt;br /&gt;
Greater Cold 大寒&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.1.What are the first four solar terms measured by ancient Chinese people?&lt;br /&gt;
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.Where does the 24 solar terms originate from?&lt;br /&gt;
&lt;br /&gt;
3. What are the eight solar terms that reflect seasonal changes？&lt;br /&gt;
&lt;br /&gt;
4.When was the 24 solar terms included in the World Intangible Cultural Heritage List? &lt;br /&gt;
&lt;br /&gt;
5.What are the food customs in the Beginning of Spring?&lt;br /&gt;
&lt;br /&gt;
6.Do you konw any other folklore of the 24 solar terms?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.&lt;br /&gt;
&lt;br /&gt;
2.It originated in the Yellow River valley.&lt;br /&gt;
&lt;br /&gt;
3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice&lt;br /&gt;
&lt;br /&gt;
4.In 2016.&lt;br /&gt;
&lt;br /&gt;
5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.&lt;br /&gt;
&lt;br /&gt;
6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &amp;quot;Sage of Medicine&amp;quot;, invented the &amp;quot;jiaozi&amp;quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &amp;quot;dumpling&amp;quot; or jiaozi. Today there is still a saying that goes &amp;quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Yuan Jix. 袁济喜. (2016). &amp;quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)&lt;br /&gt;
&lt;br /&gt;
Wang Jiahua. 王加华.（2019.9.20）&amp;quot;China Social Science Network&amp;quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml&lt;br /&gt;
&lt;br /&gt;
Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&amp;quot;Chinanews&amp;quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml &lt;br /&gt;
&lt;br /&gt;
He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html&lt;br /&gt;
&lt;br /&gt;
==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==&lt;br /&gt;
&lt;br /&gt;
===Collection of Yue Fu Poetry《乐府诗集》===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
'''1.Brief introduction'''&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. &amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.About the author'''&lt;br /&gt;
&lt;br /&gt;
Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)&lt;br /&gt;
&lt;br /&gt;
'''3.Content introduction'''&lt;br /&gt;
&lt;br /&gt;
It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &amp;quot;Yuefu Poetry Collection&amp;quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)&lt;br /&gt;
&lt;br /&gt;
====Masterpieces====&lt;br /&gt;
&lt;br /&gt;
'''1.''The Peacock Flies to Southeast'''''&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.''Mulan Poetry'''''&lt;br /&gt;
&lt;br /&gt;
''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)&lt;br /&gt;
&lt;br /&gt;
''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Evaluation====&lt;br /&gt;
&lt;br /&gt;
'''1.Contributions'''&lt;br /&gt;
&lt;br /&gt;
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105) &lt;br /&gt;
&lt;br /&gt;
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.Shortcomings'''&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.&lt;br /&gt;
&lt;br /&gt;
Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry''《乐府诗集》&lt;br /&gt;
&lt;br /&gt;
Jiaomiao songs郊庙歌辞&lt;br /&gt;
&lt;br /&gt;
Yanshe songs燕射歌辞&lt;br /&gt;
&lt;br /&gt;
Guchui drum songs鼓吹曲辞&lt;br /&gt;
&lt;br /&gt;
Hengchui songs横吹曲辞&lt;br /&gt;
&lt;br /&gt;
Xianghe songs相和歌辞&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' 《孔雀东南飞》&lt;br /&gt;
&lt;br /&gt;
''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.When was Yuefu Poetry compiled？&lt;br /&gt;
&lt;br /&gt;
2.Which institution did &amp;quot;Yuefu&amp;quot; belong to?&lt;br /&gt;
&lt;br /&gt;
3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.In Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
2.It belongs to the institution in charge of music.&lt;br /&gt;
&lt;br /&gt;
3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Eight Major Cuisines of China===&lt;br /&gt;
&lt;br /&gt;
====1. A Brief Introduction About Chinese Cuisine====&lt;br /&gt;
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &amp;quot;four major cuisines.&amp;quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &amp;quot;eight major cuisines&amp;quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)&lt;br /&gt;
&lt;br /&gt;
====2. The Classification of Chinese Cuisines====&lt;br /&gt;
      &lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)&lt;br /&gt;
&lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.1 Shandong Cuisine=====&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)&lt;br /&gt;
&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.2 Sichuan Cuisine=====&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one &lt;br /&gt;
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)&lt;br /&gt;
&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.3 Guangdong Cuisine=====&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)&lt;br /&gt;
&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.4 Fujian Cuisine=====&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &amp;quot;pickled taste&amp;quot;. (Shi Hongmei 2009, 55)&lt;br /&gt;
&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their &amp;quot;pickled taste&amp;quot;. (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.5 Jiangsu Cuisine=====&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)&lt;br /&gt;
&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.6 Zhejiang Cuisine=====&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)&lt;br /&gt;
&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.7 Hunan Cuisine=====&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)&lt;br /&gt;
&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=====2.8 Anhui Cuisine=====&lt;br /&gt;
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)&lt;br /&gt;
&lt;br /&gt;
Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====3. A Comparison of Chinese-Western Diet Culture====&lt;br /&gt;
&lt;br /&gt;
Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)&lt;br /&gt;
&lt;br /&gt;
Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)&lt;br /&gt;
&lt;br /&gt;
Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)&lt;br /&gt;
&lt;br /&gt;
However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)&lt;br /&gt;
&lt;br /&gt;
There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.&lt;br /&gt;
&lt;br /&gt;
Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.&lt;br /&gt;
&lt;br /&gt;
Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.&lt;br /&gt;
&lt;br /&gt;
Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．&lt;br /&gt;
&lt;br /&gt;
Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
pot-stewed fowl 卤味&lt;br /&gt;
&lt;br /&gt;
stewing and simmering 炖，煨&lt;br /&gt;
&lt;br /&gt;
prickly ash 花椒&lt;br /&gt;
&lt;br /&gt;
fermented soybean 豆鼓&lt;br /&gt;
&lt;br /&gt;
Braised Dongpo Pork 东坡肉&lt;br /&gt;
&lt;br /&gt;
Buddha Jumps over the Wall 佛跳墙&lt;br /&gt;
&lt;br /&gt;
Kung Pao Chicken 宫保鸡丁&lt;br /&gt;
&lt;br /&gt;
Bean Sauce Tofu 麻婆豆腐&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1. How many types of cuisines are there in china?&lt;br /&gt;
&lt;br /&gt;
2. What’s differences between Chinese and western diets?&lt;br /&gt;
&lt;br /&gt;
3. What is the origin of Dongpo Meat?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. Eight&lt;br /&gt;
&lt;br /&gt;
2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a  more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. &lt;br /&gt;
&lt;br /&gt;
3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==&lt;br /&gt;
&lt;br /&gt;
Chinese Paper Cutting 剪纸&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
With a long history, papercutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities which people pray for their ancestor and god. Later, with the widespread papercutting technique and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, papercutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)&lt;br /&gt;
&lt;br /&gt;
===History===&lt;br /&gt;
&lt;br /&gt;
The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk fabrics, as well as cloth, silk, etc., were cut into certain shapes to decorate, which lay a solid foundation for the art of papercutting. (Li &amp;amp; Zhang 2015: 7)&lt;br /&gt;
&lt;br /&gt;
As the paper is not easy to preserve, few of the paper works could survive to the modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan（吐鲁番）, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)&lt;br /&gt;
&lt;br /&gt;
In the dynasty the custom of papercutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower shape was called “Huasheng”, the people shaped “rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in(正仓院) in Japan. (Li &amp;amp; Zhang 2015: 7-8)&lt;br /&gt;
&lt;br /&gt;
By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, papercutting was used for crafts such as porcelain and blue calico. (蓝印花布) (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
The art of papercutting became mature in Yuan, Ming and Qing dynasties. There emerged well designed papercutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern (夹纱灯) as an representative. It is a lantern with papercutting clipped in, candlelight reflecting the pattern. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
Since its birth, the art of papercutting has never been interrupted.In its long history, it evolved in art and pottery, printing, dyeing and other art intertwined, being an indispensable part of people’s life. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
===Five Regions===&lt;br /&gt;
&lt;br /&gt;
The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetic, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions: (Wang 2006:106)&lt;br /&gt;
&lt;br /&gt;
Northeast Changbai Mountains area: It mainly covers Changbai Mountain area in Heilongjiang province, Liaoning province. As the birthplace of the nation of Man, the papercutting here herited the culture and customs of Man. (Wang 2006:106)&lt;br /&gt;
&lt;br /&gt;
Yellow river basin area: With the north of Shaanxi papercutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)&lt;br /&gt;
&lt;br /&gt;
Yangtze River basin area: It covers papercutting in Sichuan, Hubei, Hunan and Jiangsu provinces. Influenced by folk farming culture and the Confucian culture in the Han dynasty, papercutting in this region is in the rough in shape but bears a sense of delicacy.  (Wang 2006:106)&lt;br /&gt;
&lt;br /&gt;
The southeastern coastal area: It is highlighted by the papercutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest, tends to be elegant and common appreciation. (Wang 2006:106)&lt;br /&gt;
&lt;br /&gt;
Southwestern minority areas: It is characterized by papercutting in the minorities in Yunan and Guizhou province. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of papercutting. (Wang 2006:107)&lt;br /&gt;
&lt;br /&gt;
===Techniques===&lt;br /&gt;
&lt;br /&gt;
There are various ways to make papercutting works, include folding paper-cutting, smoked paper-cutting(熏样剪纸), color-collage paper-cutting, paper-cutting and tongcun paper-cutting , but the most common ones are mono-colored and dot-colored. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
Mono-colored papercutting refer to cut or curve with a single-colored paper, mostly in red. Since ancient times, the Chinese revered the red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored papercutting is also available in black or other colors, which are used according to different circumstances and situations, among which white papercutting is mostly used as the base sample for embroidery. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
Dyed papercutting also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper absorbs water easily. Twenty or thirty pieces of such paper are put into pile and the pattern is carved out with a knife. Then the mass of paper is dyed.After the dying process, the colors become rich and elegant, with endless changes and a strong local flavor. The dyed papercutting is mainly found in Hebei, Shanxi and Guangdong province, among which the dotted paper cuttings in Weixian, Hebei is very unique. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
===Themes===&lt;br /&gt;
&lt;br /&gt;
Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, animals and birds, twelve zodiac animals, pavilions and pavilions, totem worship(图腾崇拜), religious belief. Its connection with the major festivals and traditional customs find its expression in every aspects of life.Papercutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women &amp;quot;drop their hoes and pick up scissors to cut papers&amp;quot;; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures and Spring Festival couplets (春联) to create an lively environment for the new year. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
&lt;br /&gt;
It is the rural working women who are the majority of creator of the delicate papercutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk papercutting has been passed down from generation to generation. They are devoutly devoted to the papercutting that are rich in connotations such as prosperity, peace and good fortune, happiness, prosperity, health and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li &amp;amp; Zhang 2015: 9)&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.&lt;br /&gt;
&lt;br /&gt;
Li Youyou &amp;amp; Zhang JIngjuan 李有有&amp;amp;张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel &amp;amp; Tourism Press.&lt;br /&gt;
&lt;br /&gt;
Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Dyed papercutting 点染剪纸&lt;br /&gt;
&lt;br /&gt;
Mono-colored papercutting 单色剪纸&lt;br /&gt;
&lt;br /&gt;
Shōsō-in 正仓院&lt;br /&gt;
&lt;br /&gt;
smoked paper-cutting熏样剪纸&lt;br /&gt;
&lt;br /&gt;
Spring Festival couplets 春联&lt;br /&gt;
&lt;br /&gt;
totem worship图腾崇拜&lt;br /&gt;
&lt;br /&gt;
Turfan吐鲁番&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Where was the earliest papercutting found in China?&lt;br /&gt;
&lt;br /&gt;
2. How many regions the distribution of Papercutting can be divided into?&lt;br /&gt;
&lt;br /&gt;
3. Which two types of papercutting are the most common ones?&lt;br /&gt;
&lt;br /&gt;
4. What could be the themes of the papercutting?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.&lt;br /&gt;
&lt;br /&gt;
2. Mono-colored papercutting and dyed papercutting.&lt;br /&gt;
&lt;br /&gt;
3. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area and Southwestern minority areas.&lt;br /&gt;
&lt;br /&gt;
4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, animals and birds, twelve zodiac animals, pavilions and pavilions, totem worship, religious belief.&lt;br /&gt;
&lt;br /&gt;
==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===The Chinese Medical Sage - Zhang Zhongjing===&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)&lt;br /&gt;
&lt;br /&gt;
Later, people called the doctor who sat in the drugstore to treat patients &amp;quot;the doctor sitting in the hall&amp;quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)&lt;br /&gt;
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When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
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There is a Chinese saying that goes, &amp;quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&amp;quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)&lt;br /&gt;
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When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)&lt;br /&gt;
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Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)&lt;br /&gt;
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Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)&lt;br /&gt;
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In fact, the way of making &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &amp;quot;Jiao Er&amp;quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &amp;quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&amp;quot; (首都医药 2003, 40)&lt;br /&gt;
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At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
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[[File:Zhang_Zhongjing.jpg]]&lt;br /&gt;
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===References===&lt;br /&gt;
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(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.&lt;br /&gt;
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Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.&lt;br /&gt;
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Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.&lt;br /&gt;
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Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.&lt;br /&gt;
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Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.&lt;br /&gt;
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Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.&lt;br /&gt;
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Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of &amp;quot;Medical Sage&amp;quot; Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
medical sage 医圣&lt;br /&gt;
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''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》&lt;br /&gt;
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treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治&lt;br /&gt;
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yamen 衙门&lt;br /&gt;
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Great Cold ( 24th solar term ) 大寒&lt;br /&gt;
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Slight Cold ( 23rd solar term ) 小寒&lt;br /&gt;
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look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切&lt;br /&gt;
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Cold Dispelling Jiaoer Soup 祛寒娇耳汤&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What's the honorable title Zhang Zhongjing addressed as?&lt;br /&gt;
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2. What's the official role Zhang once taken?&lt;br /&gt;
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3. When would Zhang treat patients for free at yamen?&lt;br /&gt;
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4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?&lt;br /&gt;
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5. What's the relationship between Zhang Zhongjing and dumplings?&lt;br /&gt;
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===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Medical Sage.&lt;br /&gt;
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2. Changsha magistrate.&lt;br /&gt;
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3. He treated patients for free on the first and fifteenth days of every lunar month.&lt;br /&gt;
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4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.&lt;br /&gt;
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5. Dumplings are derived from the recipe &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot; developed by Zhang Zhongjing.&lt;br /&gt;
 &lt;br /&gt;
--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=115546</id>
		<title>20201215 cultexam 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=115546"/>
		<updated>2020-12-19T09:39:12Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Chinese Astrology - Alsied, Saffana */&lt;/p&gt;
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&lt;div&gt;*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei];  [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.&lt;br /&gt;
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'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
==Chinese Astrology - Alsied, Saffana==&lt;br /&gt;
&amp;quot;Chinese Astrology&amp;quot;--[[User:SAFFANA ALSIED ,Student No:......... Major...........&lt;br /&gt;
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===The History===&lt;br /&gt;
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So, what is Chinese astrology anyway? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements: Water, Wood, Fire, Earth, and Metal as well as the twelve animals, which represent each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. where the  source is coming from ?&lt;br /&gt;
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===The Five Elements And YIN/YANG===&lt;br /&gt;
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Chinese believe that the five basic elements, Wood, Fire, Earth, Metal, and Water form everything in the Universe. As a fundamental part of the Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A Conducive interrelationship means that these five elements will produce one another and help nourish each other. We get Fire from Wood because fire is produced by burning wood. We get Earth from Fire because fire can burn everything into ashes (earth). We get Metal from Earth because all metal has to be extracted from the earth. We get Water from Metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. where is the quotation  please?&lt;br /&gt;
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A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls Earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. where is the quotation please?&lt;br /&gt;
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===THE FORCES OF YIN / YANG===&lt;br /&gt;
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Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.&lt;br /&gt;
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A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?&lt;br /&gt;
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Chinese astrology was invented to achieve the two following goals;&lt;br /&gt;
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1.)  To predict the future,&lt;br /&gt;
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2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise. &lt;br /&gt;
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According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?&lt;br /&gt;
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Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?&lt;br /&gt;
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The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?&lt;br /&gt;
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You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Astrology 中国占星学&lt;br /&gt;
&lt;br /&gt;
2. Chinese Zodiac 中国十二生肖&lt;br /&gt;
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3. Agricultural calendar 农业日历&lt;br /&gt;
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4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）&lt;br /&gt;
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5. The Oriental philosophy 东方哲学&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1-Why was Chinese astrology invented?&lt;br /&gt;
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2-How Chinese astrology relates to a person’s divine destiny?&lt;br /&gt;
&lt;br /&gt;
3-What important role does the Chinese zodiac play in Chinese culture?&lt;br /&gt;
&lt;br /&gt;
4- What is Chinese astrology based on?&lt;br /&gt;
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5-Is Chinese astrology accurate?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.&lt;br /&gt;
&lt;br /&gt;
2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.&lt;br /&gt;
&lt;br /&gt;
3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.&lt;br /&gt;
&lt;br /&gt;
4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.&lt;br /&gt;
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5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.&lt;br /&gt;
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===References===&lt;br /&gt;
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Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9&lt;br /&gt;
&lt;br /&gt;
何丙郁. (2003). ''Chinese mathematical astrology: reaching out to the stars'', Routledge, ISBN 0415297591&lt;br /&gt;
&lt;br /&gt;
Sun, Xiaochun, Jacob Kistemaker. (1997). ''The Chinese sky during the Han: constellating stars and society''. Brill. 3-4. ISBN 978-90-04-10737-3.&lt;br /&gt;
&lt;br /&gt;
Kistemaker, Jacob, Sun, Xiaochun (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. ISBN 978-90-04-10737-3.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;&amp;quot;Almanac&amp;quot; &amp;quot;lunar&amp;quot; zodiac beginning of spring as the boundary dislocation? — China Network&amp;quot;. 16 February 2009. Retrieved 5 January 2011.&lt;br /&gt;
&lt;br /&gt;
Eberhard, Wolfram. (1986). ''A Dictionary of Chinese Symbols''. Routledge and Keegan Paul, London. 93, 105, 309.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Five Elements(Wu Xing)&amp;quot;. YourChineseAstrology.com&lt;br /&gt;
&lt;br /&gt;
==Spring Festival Couplets - Cao Runxin 曹润鑫 Student No:202070080634 .英语口译 ==&lt;br /&gt;
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]&lt;br /&gt;
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===Spring Festival Couplets===&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).&lt;br /&gt;
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Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).&lt;br /&gt;
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The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).&lt;br /&gt;
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There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).&lt;br /&gt;
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===References===&lt;br /&gt;
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*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.&lt;br /&gt;
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.&lt;br /&gt;
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.&lt;br /&gt;
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.&lt;br /&gt;
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&lt;br /&gt;
===Terms and Expressions ===&lt;br /&gt;
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 &lt;br /&gt;
&lt;br /&gt;
Paste 贴&lt;br /&gt;
&lt;br /&gt;
Horizontal scroll 横联&lt;br /&gt;
&lt;br /&gt;
Upper scroll 上联&lt;br /&gt;
&lt;br /&gt;
Lower scroll 下联&lt;br /&gt;
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===Questions ===&lt;br /&gt;
1.What’s the purpose of pasting Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
To expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
&lt;br /&gt;
2.What’s the historical origin of Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
It  originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.&lt;br /&gt;
&lt;br /&gt;
3.How to read the Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. &lt;br /&gt;
&lt;br /&gt;
4.How to do with the Old Couplets?&lt;br /&gt;
&lt;br /&gt;
Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.&lt;br /&gt;
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==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - Translation 英语笔译==&lt;br /&gt;
&lt;br /&gt;
[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]&lt;br /&gt;
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===Guzheng===&lt;br /&gt;
&lt;br /&gt;
''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.&lt;br /&gt;
&lt;br /&gt;
''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments.As early as 2500 years ago, ''zheng'' became an important instrument and was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).&lt;br /&gt;
&lt;br /&gt;
There are different opinions about how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)&lt;br /&gt;
&lt;br /&gt;
The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were oiginally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is about a rectangle, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;amp;z=0&amp;amp;ipn=d&amp;amp;word=古筝&amp;amp;step_word=&amp;amp;hs=0&amp;amp;pn=27&amp;amp;spn=0&amp;amp;di=9900&amp;amp;pi=0&amp;amp;rn=1&amp;amp;tn=baiduimagedetail&amp;amp;is=0%2C0&amp;amp;istype=2&amp;amp;ie=utf-8&amp;amp;oe=utf-8&amp;amp;in=&amp;amp;cl=2&amp;amp;lm=-1&amp;amp;st=-1&amp;amp;cs=3246661627%2C3658564396&amp;amp;os=3335747328%2C3552694810&amp;amp;simid=0%2C0&amp;amp;adpicid=0&amp;amp;lpn=0&amp;amp;ln=1718&amp;amp;fr=&amp;amp;fmq=1607348039297_R&amp;amp;fm=result&amp;amp;ic=&amp;amp;s=undefined&amp;amp;hd=&amp;amp;latest=&amp;amp;copyright=&amp;amp;se=&amp;amp;sme=&amp;amp;tab=0&amp;amp;width=&amp;amp;height=&amp;amp;face=undefined&amp;amp;ist=&amp;amp;jit=&amp;amp;cg=&amp;amp;bdtype=0&amp;amp;oriquery=&amp;amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;amp;gsm=1c&amp;amp;rpstart=0&amp;amp;rpnum=0&amp;amp;islist=&amp;amp;querylist=&amp;amp;force=undefined]for original source.]]&lt;br /&gt;
&lt;br /&gt;
The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)&lt;br /&gt;
&lt;br /&gt;
The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made from materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the strings to the left of the bridges. (Gao Yiwei 2020, 39)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)&lt;br /&gt;
&lt;br /&gt;
Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)&lt;br /&gt;
&lt;br /&gt;
In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang merged the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'' by playing ''guzheng'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
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From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.&lt;br /&gt;
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.&lt;br /&gt;
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. &lt;br /&gt;
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.&lt;br /&gt;
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.&lt;br /&gt;
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.&lt;br /&gt;
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
*Meng Tian 蒙恬 &lt;br /&gt;
*Zhao Lin 赵璘&lt;br /&gt;
*''Records on Words'' 《因话录》&lt;br /&gt;
*anterior mountain 前岳山 &lt;br /&gt;
*posterior mountain 后岳山&lt;br /&gt;
*''Yan Zhu'' 雁柱 &lt;br /&gt;
*string pegs 弦钉&lt;br /&gt;
*turning box 调音盒 &lt;br /&gt;
*zither feet 琴足&lt;br /&gt;
*paulownia 桐木 &lt;br /&gt;
*mahogany 红木&lt;br /&gt;
*''Dai Mao'' 玳瑁&lt;br /&gt;
*''Yi Jia'' 义甲&lt;br /&gt;
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹&lt;br /&gt;
*''High Mountains and Running Water'' 《高山流水》&lt;br /&gt;
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》&lt;br /&gt;
*''Jackdaw Playing in the Water'' 《寒鸦戏水》&lt;br /&gt;
*''The Tune of Liu Qing Niang'' 《柳青娘》&lt;br /&gt;
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香&lt;br /&gt;
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望&lt;br /&gt;
*''National Music Ceremony'' 《国乐大典》&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What kind of musical instrument does the ''guzheng'' belong to?&lt;br /&gt;
&lt;br /&gt;
2. Why the ''guzheng'' is deeply loved by Chinese? &lt;br /&gt;
&lt;br /&gt;
3. Who is Meng Tian? &lt;br /&gt;
&lt;br /&gt;
4. According to the legend, how did the ''se'' develop into the ''zheng''?&lt;br /&gt;
&lt;br /&gt;
5. How many strings does the ''guzheng'' have? How long is the guzheng?&lt;br /&gt;
&lt;br /&gt;
6. What is the function of movable bridges?&lt;br /&gt;
&lt;br /&gt;
7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? &lt;br /&gt;
&lt;br /&gt;
8. In ancient times, what materials were the fingerpicks made of?&lt;br /&gt;
&lt;br /&gt;
9. Generally speaking, how does the players strike notes? &lt;br /&gt;
&lt;br /&gt;
10. What styles can ''guzheng'' be divided into?&lt;br /&gt;
&lt;br /&gt;
11. Which school does ''The Autumn Moon in the Han Palace'' belong to? &lt;br /&gt;
&lt;br /&gt;
12. Do you know any other ''guzheng'' music? Please list some pieces.&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It belongs to plucked stringed instruments.&lt;br /&gt;
&lt;br /&gt;
2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. &lt;br /&gt;
&lt;br /&gt;
3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.&lt;br /&gt;
&lt;br /&gt;
4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. &lt;br /&gt;
&lt;br /&gt;
5. It usually has 21 strings and is 163 centimeters long. &lt;br /&gt;
&lt;br /&gt;
6. They are moved to change the timbres.&lt;br /&gt;
&lt;br /&gt;
7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.&lt;br /&gt;
&lt;br /&gt;
8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.&lt;br /&gt;
&lt;br /&gt;
9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. &lt;br /&gt;
&lt;br /&gt;
10. The Northern school and the Southern school.&lt;br /&gt;
&lt;br /&gt;
11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.&lt;br /&gt;
&lt;br /&gt;
12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).&lt;br /&gt;
&lt;br /&gt;
==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581. Major:.........&lt;br /&gt;
===Facial makeup===&lt;br /&gt;
&lt;br /&gt;
Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62) （seperate the paragraph --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 14:53, 17 December 2020 (UTC)）&lt;br /&gt;
&lt;br /&gt;
Facial makeup, a sort of makeup art used in stage performance, is painted on the faces of traditional opera singers in China and varies when it comes to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with strict moral codes; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:13, 18 December 2020 (UTC)&lt;br /&gt;
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People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)&lt;br /&gt;
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People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous, good-looking and was bound to win every battle in which he worn a mask that seemed frightening. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.( I think the military service and merits maybe inappropriate here, please replace them with better words)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:34, 18 December 2020 (UTC)&lt;br /&gt;
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The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)&lt;br /&gt;
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The legendary drama played a dominant role in Ming Dynasty, which is rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brows and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in facial makeup of jing. (The meaning of “ The pattern ratio has changed as well” is vague, please detail it.)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 10:04, 18 December 2020 (UTC)&lt;br /&gt;
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Red&lt;br /&gt;
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Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.&lt;br /&gt;
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Black&lt;br /&gt;
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Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.&lt;br /&gt;
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Black facial makeup gives people the impression that the actor is serious, and rarely smile and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 10:04, 18 December 2020 (UTC)&lt;br /&gt;
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White&lt;br /&gt;
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White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.&lt;br /&gt;
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White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:28, 18 December 2020 (UTC)&lt;br /&gt;
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Blue&lt;br /&gt;
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Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.&lt;br /&gt;
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Purple&lt;br /&gt;
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Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.&lt;br /&gt;
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Golden&lt;br /&gt;
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Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
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Golden facial makeup symbolizes dignity and power fitting roles like supernatural beings such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
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The features of facial makeup are mainly as follows:&lt;br /&gt;
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)&lt;br /&gt;
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It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese start to explore the mystery of it.(Cao Juan, 2019, 61)--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:28, 18 December 2020 (UTC)&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
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painted face 花脸&lt;br /&gt;
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clown 丑角&lt;br /&gt;
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Sheng 生&lt;br /&gt;
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Dan 旦&lt;br /&gt;
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Jing 净&lt;br /&gt;
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Chou 丑&lt;br /&gt;
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Qingyi 青衣&lt;br /&gt;
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xiaosheng 小生&lt;br /&gt;
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laosheng 老生&lt;br /&gt;
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wusheng 武生&lt;br /&gt;
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Gao Changgong 高长恭&lt;br /&gt;
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legend，romance 传奇剧&lt;br /&gt;
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Erlang Shen, Erlang 二郎神&lt;br /&gt;
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Tathagata, Buddha 如来佛&lt;br /&gt;
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Sakyamuni 释迦牟尼&lt;br /&gt;
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Water Margin of the Marsh 水浒传&lt;br /&gt;
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===C. Questions===&lt;br /&gt;
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1.How many types are character roles divided into in Beijing opera?&lt;br /&gt;
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2.What are the differences bbetween Sheng and Dan?&lt;br /&gt;
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3.What are the special features of Chou?&lt;br /&gt;
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4.What is the function of facial mask in Beijing opera?&lt;br /&gt;
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5.What are the main features of facial makeup?&lt;br /&gt;
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6.What are the characteristics of characters wearing blue facial makeup?&lt;br /&gt;
===Answers===&lt;br /&gt;
1.Four types:Sheng, Dan, Jing and Chou.&lt;br /&gt;
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2.Sheng refers to male roles while Dan refers to female roles.&lt;br /&gt;
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3.A patch of white powder is wiped on their nose.&lt;br /&gt;
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4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. &lt;br /&gt;
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5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.&lt;br /&gt;
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6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly&lt;br /&gt;
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===References===&lt;br /&gt;
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He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.&lt;br /&gt;
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Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.&lt;br /&gt;
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Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.&lt;br /&gt;
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==Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies==&lt;br /&gt;
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=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===&lt;br /&gt;
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Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.&lt;br /&gt;
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====1.Liu Cixin（刘慈欣）====&lt;br /&gt;
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Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)&lt;br /&gt;
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Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. &lt;br /&gt;
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Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &amp;quot;Supernova Era&amp;quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)&lt;br /&gt;
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Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy &amp;quot;Memory of the Earth's Past&amp;quot; - the novel &amp;quot;The Problem of Three Bodies&amp;quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &amp;quot;The Three-Body Problem,&amp;quot; although this is not formally true.&lt;br /&gt;
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Interesting fact: Such famous people as Barack Obama and Mark Zuckerberg called this book the best and recommended it for everyone to read.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)&lt;br /&gt;
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In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.&lt;br /&gt;
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Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.&lt;br /&gt;
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In this section, I would recommend adding authors whose books Liu Cixin recommends reading.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:42, 18 December 2020 (UTC)&lt;br /&gt;
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====2.Chen Qiufan (陈楸帆） ====&lt;br /&gt;
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Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.&lt;br /&gt;
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Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.&lt;br /&gt;
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His debut book was ''The Empty Wave'', &amp;quot;combining realism and allegory to represent the hybridity of humans and machines.&amp;quot; Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian.&lt;br /&gt;
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His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.&lt;br /&gt;
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An interesting fact that can also be added: In a year he watches about 100 films and reads 50 books in any way related to science fiction and Cyberpunk.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
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====3.Rebecca F. Kuang (匡蘦秀)====&lt;br /&gt;
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When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.&lt;br /&gt;
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Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.&lt;br /&gt;
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Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.&lt;br /&gt;
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Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.&lt;br /&gt;
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I also suggest adding that she has been involved in several new projects at the moment, such as the well-known Star Wars. Can you write something about this?--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
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Don't forget to add sources at the end of each paragraph.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 19:54, 18 December 2020 (UTC)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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1. Science fiction - 科幻&lt;br /&gt;
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2. Fantasy - 奇幻&lt;br /&gt;
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3. Horizon - 地平线&lt;br /&gt;
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4. Broad - 拓宽&lt;br /&gt;
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5. Hybrid - 杂种&lt;br /&gt;
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6. The plot - 情节&lt;br /&gt;
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7. Garbage - 垃圾堆&lt;br /&gt;
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8. Heyday - 壮年&lt;br /&gt;
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9. Supernova - 超新星&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What was the first book written by Liu Cixin?&lt;br /&gt;
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2. What is the most popular trilogy of books written by Liu Cixin?&lt;br /&gt;
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3. Who is called Chinese William Gibson?&lt;br /&gt;
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4. What is Rebecca Quang's Opium War plot based on?&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1. Supernova Era&lt;br /&gt;
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2. Memory of the Earth's Past&lt;br /&gt;
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3. Chen Qiufan (陈楸帆）&lt;br /&gt;
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4. The plot is largely based on the history of China in the middle of the 20th century.&lt;br /&gt;
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===References===&lt;br /&gt;
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1. Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html&lt;br /&gt;
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2. Liu Cixin, Supernova Era, 2019. 352 pp.&lt;br /&gt;
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3. Chen Qiufan, Waste Tide, 2019. 342 pp.&lt;br /&gt;
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4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.&lt;br /&gt;
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==Stilts - Chen Yongxiang 陈永相 英语笔译 202070080582==&lt;br /&gt;
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
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===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===&lt;br /&gt;
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&amp;lt;center&amp;gt;Chen Yongxiang 陈永相 英语笔译 202070080582&amp;lt;/center&amp;gt;&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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Stilt is one of the folk dances of the Han nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo,2018)&lt;br /&gt;
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Stilt is one of the folk dances of the ''Han'' nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing,2019)&lt;br /&gt;
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As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performing techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
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The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who holds the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.(source)--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
Legs and feet of stilt-walkers must be agile. Jumping the large bench is quite demanding that normal players can hardly accomplish. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with waist. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing,2019)&lt;br /&gt;
&lt;br /&gt;
Miliangtun Village Stilts as a renowned fair,are known for the features of risky tricks, various skills and great difficulty. There are stunning tricks such as ''Yasha Searches the Sea'', ''Su Qin Carries Swords'', squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, and the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.(Sun Miao,2018)&lt;br /&gt;
&lt;br /&gt;
There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilt is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilt has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:04, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
Miliangtun (village name) 米粮屯&lt;br /&gt;
&lt;br /&gt;
stilts 高跷&lt;br /&gt;
&lt;br /&gt;
intangible cultural heritage 非物质文化遗产&lt;br /&gt;
&lt;br /&gt;
folk dance 民间舞蹈&lt;br /&gt;
&lt;br /&gt;
Toutou 陀头&lt;br /&gt;
&lt;br /&gt;
Laozuozi 老坐子 &lt;br /&gt;
&lt;br /&gt;
young boy 小二哥&lt;br /&gt;
&lt;br /&gt;
young master 公子&lt;br /&gt;
&lt;br /&gt;
Mr.Plaster 药先生&lt;br /&gt;
&lt;br /&gt;
Choupo 丑婆&lt;br /&gt;
&lt;br /&gt;
fisherman渔翁&lt;br /&gt;
&lt;br /&gt;
Yupo 渔婆 &lt;br /&gt;
&lt;br /&gt;
wood-cutter 柴翁&lt;br /&gt;
&lt;br /&gt;
handsome and ugly drum-players 俊鼓和丑鼓&lt;br /&gt;
&lt;br /&gt;
handsome and ugly gong-players 俊锣和丑锣&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Where does Miliangtun Village Stilts originate?&lt;br /&gt;
&lt;br /&gt;
2. How many years of history does Miliangtun Village Stilts have?&lt;br /&gt;
&lt;br /&gt;
3. How many roles in Miliangtun Village Stilts?&lt;br /&gt;
&lt;br /&gt;
4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?&lt;br /&gt;
&lt;br /&gt;
5. How long is the shortest and the longest stilts?&lt;br /&gt;
&lt;br /&gt;
====Answers====&lt;br /&gt;
&lt;br /&gt;
1. Wangzuo Town, Fengtai District, Beijing.&lt;br /&gt;
&lt;br /&gt;
2. More than 250 years.&lt;br /&gt;
&lt;br /&gt;
3. 13.&lt;br /&gt;
&lt;br /&gt;
4. In 2006.&lt;br /&gt;
&lt;br /&gt;
5. The shortest stilt is two feet long, and the longest reaches over five feet.&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究. [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebei University. 河北大学.&lt;br /&gt;
&lt;br /&gt;
Sun Miao 孙淼. (2018). &amp;quot;一跷多艺&amp;quot;: 胜芳高跷会的舞体表征与比较研究. [&amp;quot;Multi-skills with one stilt&amp;quot;: A comparative study of the dance style of Shengfang stilt fair]. ''长江丛刊'', (24)18.&lt;br /&gt;
&lt;br /&gt;
Xingxing 邢星. (2019). 米粮屯高跷 Miliangtun Village Stilts. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin&lt;br /&gt;
&lt;br /&gt;
Intangible cultural heritage Miliangtun Village Stilts. (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&amp;amp;wfr=spider&amp;amp;for=pc&lt;br /&gt;
&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)&lt;br /&gt;
&lt;br /&gt;
Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.&lt;br /&gt;
&lt;br /&gt;
When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva to protect Buddha, people gradually have a good impression on it as a symbol of wisdom.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:35, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
===Northern lion dancing===&lt;br /&gt;
&lt;br /&gt;
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur even witrh the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 09:58, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Southern lion dancing===&lt;br /&gt;
&lt;br /&gt;
Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion is brave, Zhang Fei lion rough and belligerent, and Liu Bei lion calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing through using different “Ma Bu” or horse stances by performers, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 10:02, 15 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Western Regions 西域&lt;br /&gt;
&lt;br /&gt;
mount 坐骑&lt;br /&gt;
&lt;br /&gt;
Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
&lt;br /&gt;
gong 锣&lt;br /&gt;
&lt;br /&gt;
northern lion dancing 南狮&lt;br /&gt;
&lt;br /&gt;
southern lion dancing 北狮&lt;br /&gt;
&lt;br /&gt;
colorful silk ball 绣球&lt;br /&gt;
&lt;br /&gt;
wooden stakes 木桩&lt;br /&gt;
&lt;br /&gt;
spiritual resemblance神似&lt;br /&gt;
&lt;br /&gt;
Liu Bei lion 刘备狮&lt;br /&gt;
&lt;br /&gt;
Guan Gong lion 关公狮&lt;br /&gt;
&lt;br /&gt;
Zhang Fei lion 张飞狮&lt;br /&gt;
&lt;br /&gt;
sworn brothers 结义兄弟&lt;br /&gt;
&lt;br /&gt;
horse stances 马步&lt;br /&gt;
&lt;br /&gt;
Cai Qing 采青&lt;br /&gt;
&lt;br /&gt;
lettuces 生菜&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. How long is the history of lion dance in China?&lt;br /&gt;
&lt;br /&gt;
2. Why did people gradually accept lion as a sacred animal?&lt;br /&gt;
&lt;br /&gt;
3. Why did people use lion dance to celebrate the New Year?&lt;br /&gt;
&lt;br /&gt;
4. What is the main difference between southern lion dancing and northern lion dancing?&lt;br /&gt;
&lt;br /&gt;
5. What is the center of southern lion dancing?&lt;br /&gt;
&lt;br /&gt;
6. How many colors are there in the heads of southern lions? And what are they?&lt;br /&gt;
&lt;br /&gt;
7. What is “Cai Qing”? And what do you know about “Cai Qing”?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It is with a history of about 2000 years.&lt;br /&gt;
&lt;br /&gt;
2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.&lt;br /&gt;
&lt;br /&gt;
3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
&lt;br /&gt;
4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.&lt;br /&gt;
&lt;br /&gt;
5. It is in southern China’s Guangdong province.&lt;br /&gt;
&lt;br /&gt;
6. The head of southern lion has three colors, namely black, red and yellow.&lt;br /&gt;
&lt;br /&gt;
7. It means &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.&lt;br /&gt;
&lt;br /&gt;
Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.&lt;br /&gt;
&lt;br /&gt;
Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.&lt;br /&gt;
&lt;br /&gt;
Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.&lt;br /&gt;
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==Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译==&lt;br /&gt;
===A. The Eight Tang-Song Prose Masters===&lt;br /&gt;
[[File:Tang Song Ba Da Jia.jpg]]&lt;br /&gt;
&lt;br /&gt;
===Brief Introduction of The Eight Tang-Song Prose Masters===&lt;br /&gt;
&lt;br /&gt;
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） &lt;br /&gt;
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The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and &amp;quot;Three Su&amp;quot;(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called &amp;quot;Three Su&amp;quot;. What's more, Su Xun is their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)&lt;br /&gt;
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In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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'''1. Han Yu'''&lt;br /&gt;
[[File:Han Yu.jpg]]&lt;br /&gt;
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Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)&lt;br /&gt;
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Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)&lt;br /&gt;
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Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:06, 16 December 2020 (UTC)&lt;br /&gt;
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'''2. Liu Zongyuan'''&lt;br /&gt;
[[File:Liu Zongyuan.jpg]]&lt;br /&gt;
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Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong &amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as&amp;quot; Liu Liuzhou &amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.&lt;br /&gt;
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Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong&amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as &amp;quot;Liu Liuzhou&amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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He was juxtaposed with Han Yu as &amp;quot;Han Liu &amp;quot;, with Liu Yuxi as &amp;quot; Liu Liu &amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu &amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)&lt;br /&gt;
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He was juxtaposed with Han Yu as &amp;quot;Han Liu&amp;quot;, with Liu Yuxi as &amp;quot;Liu Liu&amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu&amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)&lt;br /&gt;
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He was a philosopher and litterateur with many wise ideas, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:00, 16 December 2020 (UTC)&lt;br /&gt;
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'''3. Ouyang Xiu'''&lt;br /&gt;
[[File:Ouyang Xiu.jpg]]&lt;br /&gt;
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Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.&lt;br /&gt;
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Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was a native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Mianyang city in Sichuan province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.&lt;br /&gt;
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Ouyang Xiu’s poems, Cis and proses were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)&lt;br /&gt;
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Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''4. Su Xun'''&lt;br /&gt;
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Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.&lt;br /&gt;
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Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. He married Mrs. Cheng at the age of 19. Later when he was 27, he determined to study hard. After a decade of hard work, he made huge academic progress.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world &amp;quot;, to&amp;quot; apply to the present &amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)&lt;br /&gt;
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Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world&amp;quot;, to &amp;quot;apply to the present&amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''5. Su Shi'''&lt;br /&gt;
[[File:Su Shi.jpg]]&lt;br /&gt;
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Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .&lt;br /&gt;
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Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)&lt;br /&gt;
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Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.&lt;br /&gt;
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Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''6. Su Zhe'''&lt;br /&gt;
[[File:Su Zhe.jpg]]&lt;br /&gt;
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Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States.  From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)&lt;br /&gt;
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Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Shi, together with his brother, climbed jinshi branch. Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''7. Wang Anshi'''&lt;br /&gt;
[[File:Wang Anshi.jpg]]&lt;br /&gt;
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Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .&lt;br /&gt;
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Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)&lt;br /&gt;
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Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''8. Zeng Gong'''&lt;br /&gt;
[[File:Zeng Gong.jpg]]&lt;br /&gt;
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Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
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Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot;, including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.&lt;br /&gt;
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Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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'''9. Comparison between the Ancient Prose Movement and Renaissance'''&lt;br /&gt;
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Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)&lt;br /&gt;
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Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures respectively.(Lu Sihong 2016, 71)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in ideology:&lt;br /&gt;
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The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.&lt;br /&gt;
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The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in writing style:&lt;br /&gt;
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The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)&lt;br /&gt;
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The two retro movements were marked by the retro style to restore the creation mode of ancient proses, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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Comparison in literary form:&lt;br /&gt;
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The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&amp;quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)&lt;br /&gt;
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The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: &amp;quot;Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:55, 16 December 2020 (UTC)&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
The Eight Tang-Song Prose Masters 唐宋八大家&lt;br /&gt;
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Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》&lt;br /&gt;
&lt;br /&gt;
Ancient Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
parallel prose 骈文&lt;br /&gt;
&lt;br /&gt;
The Decline of Eight Generations 文起八代之衰&lt;br /&gt;
&lt;br /&gt;
The Article Giant 文章巨公&lt;br /&gt;
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Admired Literate of One Hundred Generations 百代文宗&lt;br /&gt;
&lt;br /&gt;
Han Changli Collection 《韩昌黎集》&lt;br /&gt;
&lt;br /&gt;
External collection 《外集》&lt;br /&gt;
&lt;br /&gt;
The Teacher's Theory《师说》&lt;br /&gt;
&lt;br /&gt;
Pre-Qin and Han Dynasties 先秦两汉时期&lt;br /&gt;
&lt;br /&gt;
writing in classical Chinese 文言文&lt;br /&gt;
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feudal provincial of Liuzhou 柳州刺史&lt;br /&gt;
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official supervisor of imperial censor 监察御史&lt;br /&gt;
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Liu He Dong Colloection 《柳河东集》&lt;br /&gt;
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Northern Song Dynasty 北宋&lt;br /&gt;
&lt;br /&gt;
a thousand volumes of collections of inscriptions 金石遗文一千卷&lt;br /&gt;
&lt;br /&gt;
Xia, Shang, Zhou Dynasties 三代&lt;br /&gt;
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the crown of that time 一时之冠&lt;br /&gt;
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Southern Tang Dynasty 南唐&lt;br /&gt;
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Yu Feng 余风&lt;br /&gt;
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The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》&lt;br /&gt;
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the Northern Song Dynasty poetry innovation movement北宋诗文革新运动&lt;br /&gt;
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Heng Lun 《衡论》&lt;br /&gt;
&lt;br /&gt;
Duke Jingguo 荆国公&lt;br /&gt;
 &lt;br /&gt;
The Book to the Emperor 《上皇帝书》&lt;br /&gt;
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Dongpo Jushi 东坡居士&lt;br /&gt;
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Ci writer 词人&lt;br /&gt;
&lt;br /&gt;
Unconstrained Ci School豪放派&lt;br /&gt;
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literary and artistic attainments 文学艺术造诣&lt;br /&gt;
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the first all-round talent in ancient China 中国古代第一全才&lt;br /&gt;
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Su Men Four bachelors 苏门四学士&lt;br /&gt;
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the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》&lt;br /&gt;
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The New Theory《新论》&lt;br /&gt;
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On the Six Kingdoms 《六国论》&lt;br /&gt;
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Ode 赋&lt;br /&gt;
&lt;br /&gt;
The Ode to Ink bamboo 《墨竹赋》&lt;br /&gt;
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Seven Zengs of Nanfeng 南丰七曾&lt;br /&gt;
&lt;br /&gt;
the doctrine before the text先道后文&lt;br /&gt;
&lt;br /&gt;
the Book to Ouyang She Ren 《上欧阳舍人书》&lt;br /&gt;
&lt;br /&gt;
the Book to Bachelor Cai 《上蔡学士书》&lt;br /&gt;
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the Six Dynasties 六朝&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
1.Who are the pioneers of the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2.Which kind of prose they advocate in the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
3.Do you know any representatives of Liu Zongyuan?&lt;br /&gt;
&lt;br /&gt;
4.Why Ouyang Xiu is called &amp;quot;Liu Yi Scholar&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
5.What’s the relationship among Su Xun, Su Shi and Su Zhe?&lt;br /&gt;
&lt;br /&gt;
6.Who are the &amp;quot;Seven Zengs of Nanfeng&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
7.Do you know any about the Renaissance?&lt;br /&gt;
&lt;br /&gt;
===D. Answers===&lt;br /&gt;
&lt;br /&gt;
1.Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2.The prose of Pre-Qin and Han Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.The &amp;quot;Liu He Dong Colloection&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.&lt;br /&gt;
&lt;br /&gt;
5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.&lt;br /&gt;
&lt;br /&gt;
6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
&lt;br /&gt;
7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.&lt;br /&gt;
&lt;br /&gt;
Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.&lt;br /&gt;
&lt;br /&gt;
He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.&lt;br /&gt;
&lt;br /&gt;
Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.&lt;br /&gt;
&lt;br /&gt;
Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.&lt;br /&gt;
&lt;br /&gt;
Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).&lt;br /&gt;
&lt;br /&gt;
Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).&lt;br /&gt;
&lt;br /&gt;
Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.&lt;br /&gt;
&lt;br /&gt;
Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.&lt;br /&gt;
&lt;br /&gt;
==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - Translation 英语笔译==&lt;br /&gt;
[Please add your student no. and your major.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
===1. A Brief Introduction===&lt;br /&gt;
&lt;br /&gt;
[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;src=srp&amp;amp;correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&amp;amp;ancestor=list&amp;amp;cmsid=b749b87b72b5c9427d6560a39d41548f&amp;amp;cmras=6&amp;amp;cn=0&amp;amp;gn=0&amp;amp;kn=0&amp;amp;crn=0&amp;amp;bxn=0&amp;amp;fsn=60&amp;amp;cuben=0&amp;amp;pornn=0&amp;amp;manun=0&amp;amp;adstar=0&amp;amp;clw=247#id=22b2926be2637560e928bbc9318219fb&amp;amp;currsn=0&amp;amp;ps=58&amp;amp;pc=58]for original source.]]&lt;br /&gt;
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Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020)&lt;br /&gt;
&lt;br /&gt;
Pipa belongs to plucked stringed instruments. It is made of wood or bamboo, and its speaker box is half pear-shaped with 4 strings on it which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing)&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly and presses the strings with the left hand and plays them with the right hand. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.(360baike 2020) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:43, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2.The Development of Pipa===&lt;br /&gt;
&lt;br /&gt;
The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The development of The Chinese pipa has gone through four stages: First, the Qu Xiang pipa (curving-neck pipa) was introduced to China during the Eastern Jin Dynasty and became an important instrument. In the second stage, the art of pipa reached its peak in the Tang Dynasty, making a breakthrough in timbre and performance techniques and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16) &lt;br /&gt;
&lt;br /&gt;
During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one skill in playing the pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 06:52, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. And it was replaced by Chinese traditional instrument playing style with a major breakthrough in playing skills and artistic expression. During this period, pipa was still played mainly by plucking the strings, but its initial plucking style had transitioned to finger-playing, and the posture of playing the pipa changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Song and Yuan Dynasties, the methods and playing skills of pipa performance were more mature, and its playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from less to more. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene. (Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
&lt;br /&gt;
During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing the pipa also kept vertical. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement in their performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so the common people without cultural accumulation often  cannot appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:12, 18 December 2020 (UTC)&lt;br /&gt;
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===3.Pipa Schools and Their Chracteristics===&lt;br /&gt;
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The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)&lt;br /&gt;
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The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
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(1)The Wuxi school&lt;br /&gt;
&lt;br /&gt;
The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)&lt;br /&gt;
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The Wuxi School belongs to the Northern School and differs from the Southern School in terms of finger rotation method. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
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(2)The Pinghu school&lt;br /&gt;
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The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10)&lt;br /&gt;
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The most distinctive performing techniques of the pipa are the Pinghu school's rotation method of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 18 December 2020 (UTC)&lt;br /&gt;
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(3)The Pudong School &lt;br /&gt;
&lt;br /&gt;
Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)&lt;br /&gt;
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Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both civil and military; In terms of playing skills, it has its own characteristics, including parallel string and rolling of four strings.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)&lt;br /&gt;
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(4)The Chongming school&lt;br /&gt;
&lt;br /&gt;
The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)&lt;br /&gt;
&lt;br /&gt;
The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, the Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuity in the slow, the order in the fast, and soft and lively sound. In terms of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10) --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:39, 18 December 2020 (UTC)&lt;br /&gt;
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(5)The Shanghai school&lt;br /&gt;
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This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)&lt;br /&gt;
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===4.Traditional Pipa Music===&lt;br /&gt;
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Traditional pipa music can be divided into military songs, literary songs and military-literary songs.&lt;br /&gt;
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Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are &amp;quot;Ambush on All Sides&amp;quot;, &amp;quot;Bury Me High&amp;quot;, &amp;quot;Hai Qing Hunting the Swan&amp;quot;, &amp;quot;General Order in the Han Dynasty&amp;quot;. [Maybe you could add the Pinyin version of these songs' names or add them into the terms and expressions so as to let readers know the Chinese.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:16, 14 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on.&lt;br /&gt;
&lt;br /&gt;
Literary song emphasizes the expression of the left-hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound inner talking or the artistic conception that people are looking forward to in a simple and moving melody or in a beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:04, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Military-literary song is the combination of martial song and literary song. The representative songs are &amp;quot;The Spring Snow&amp;quot;, &amp;quot;High Mountain and Flowing Water&amp;quot;, &amp;quot;Dragon Boat&amp;quot;, &amp;quot;Flute and Drum at Sunset&amp;quot; and so on.&lt;br /&gt;
&lt;br /&gt;
===5.References=== [References] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
*[1]360百科 “琵琶”词条[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020&lt;br /&gt;
&lt;br /&gt;
*[2]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.&lt;br /&gt;
&lt;br /&gt;
*[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.&lt;br /&gt;
&lt;br /&gt;
*[4]成玄歌. 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例[The relationship between literary songs and military songs and different schools of pipa----taking Pinghu school and Pudong school as examples][J]. 艺术品鉴,2020,(29):51-52.&lt;br /&gt;
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[Please correct your format of your references.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:52, 14 December 2020 (UTC)&lt;br /&gt;
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===6.Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
*弹拨乐器—plucked instruments&lt;br /&gt;
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*汉化—Chinesization&lt;br /&gt;
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*套曲—divertimentoes&lt;br /&gt;
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*游牧民族—nomad tribe&lt;br /&gt;
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*宫廷乐—court music&lt;br /&gt;
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*轮指法—tremolo&lt;br /&gt;
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*音色—timbre&lt;br /&gt;
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*曲目—repertoire&lt;br /&gt;
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*并弦—parallel string&lt;br /&gt;
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*指法—fingering techniques&lt;br /&gt;
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===7.Questions===&lt;br /&gt;
&lt;br /&gt;
1、How many stages did pipa go through during its development?&lt;br /&gt;
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2、What characteristics did pipa have during Wei and Jin dynasties?&lt;br /&gt;
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3、What changes had been made to pipa during Ming and Qing dynasties?&lt;br /&gt;
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4、How many schools does pipa have and what are they?&lt;br /&gt;
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5、Can you list at least 3 representative repertoires of literary songs played by pipa? &lt;br /&gt;
&lt;br /&gt;
===8.Answers===&lt;br /&gt;
&lt;br /&gt;
1、Four.&lt;br /&gt;
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2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.&lt;br /&gt;
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3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. &lt;br /&gt;
&lt;br /&gt;
4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.   &lt;br /&gt;
&lt;br /&gt;
5、&amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; .&lt;br /&gt;
&lt;br /&gt;
[Please change your sections into the following form.] --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:02, 14 December 2020 (UTC)&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
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==Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:14, 17 December 2020 (UTC)==&lt;br /&gt;
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=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === &lt;br /&gt;
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The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?&lt;br /&gt;
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'''1. Huli-jing (狐狸精) in China'''&lt;br /&gt;
&lt;br /&gt;
First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.&lt;br /&gt;
&lt;br /&gt;
People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.&lt;br /&gt;
&lt;br /&gt;
People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult, but it was only during the Song dynasty reign. That time the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.&lt;br /&gt;
&lt;br /&gt;
The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.&lt;br /&gt;
&lt;br /&gt;
The theme of fatal love in the stories of werefoxes appear as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.&lt;br /&gt;
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &amp;quot;Good Hunt&amp;quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.&lt;br /&gt;
&lt;br /&gt;
In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &amp;quot;Painted Skin (畫皮)&amp;quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.&lt;br /&gt;
&lt;br /&gt;
In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.&lt;br /&gt;
&lt;br /&gt;
Quite a lot of information about werewolf foxes can be obtained from the TV series &amp;quot;The Legend of the Nine-Tailed Fox&amp;quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.&lt;br /&gt;
&lt;br /&gt;
Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.&lt;br /&gt;
&lt;br /&gt;
To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.&lt;br /&gt;
&lt;br /&gt;
'''2. Kitsune (キツネ) in Japan''' &lt;br /&gt;
&lt;br /&gt;
In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&amp;quot;Fox-messenger&amp;quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.&lt;br /&gt;
&lt;br /&gt;
Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.&lt;br /&gt;
&lt;br /&gt;
Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.&lt;br /&gt;
&lt;br /&gt;
Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:32, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. &lt;br /&gt;
&lt;br /&gt;
'''3. Kumiho (구미호) in Korea'''&lt;br /&gt;
&lt;br /&gt;
Kumiho - (구 &amp;quot;ku&amp;quot; - nine, 미 &amp;quot;mi&amp;quot; - tail, 호 &amp;quot;ho&amp;quot; - fox - &amp;quot;fox with nine tails&amp;quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.&lt;br /&gt;
&lt;br /&gt;
In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Shape shifter – 成精&lt;br /&gt;
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Creature –生物&lt;br /&gt;
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Seductive –诱人的&lt;br /&gt;
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Damnation –诅咒&lt;br /&gt;
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Metaphor –隐喻&lt;br /&gt;
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Ascribe –属性&lt;br /&gt;
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Indigenous –土着&lt;br /&gt;
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Deity – 反面人物&lt;br /&gt;
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Liver – 肝脏&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
1. Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.&lt;br /&gt;
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2. Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.&lt;br /&gt;
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3. Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What was the attitude towards the Huli Jing in Ancient China?&lt;br /&gt;
&lt;br /&gt;
2. Can we characterize Kitsune as a positive or negative character?&lt;br /&gt;
&lt;br /&gt;
3. Could Kumiho become human forever?&lt;br /&gt;
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===Answers===&lt;br /&gt;
&lt;br /&gt;
1.Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.&lt;br /&gt;
&lt;br /&gt;
2.In Japanese mythology, Kitsune was not unambiguously good or bad creatures.&lt;br /&gt;
&lt;br /&gt;
3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever.&lt;br /&gt;
References ..................&lt;br /&gt;
&lt;br /&gt;
==Chinese Characters - Gu Dongfang 顾东方==&lt;br /&gt;
Chinese Characters&lt;br /&gt;
&lt;br /&gt;
===Origin===&lt;br /&gt;
&lt;br /&gt;
Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）&lt;br /&gt;
&lt;br /&gt;
===Evolution of Chinese characters===&lt;br /&gt;
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]&lt;br /&gt;
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)&lt;br /&gt;
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===Ancient Chinese characters===&lt;br /&gt;
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====Oracle bone script====&lt;br /&gt;
&lt;br /&gt;
Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).&lt;br /&gt;
&lt;br /&gt;
====Bronze script====&lt;br /&gt;
&lt;br /&gt;
In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.&lt;br /&gt;
&lt;br /&gt;
====Seal script====&lt;br /&gt;
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. &lt;br /&gt;
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) began to be used in Qin State.&lt;br /&gt;
and all of the above three points ignored the quote, please add them up.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:23, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Modern characters===&lt;br /&gt;
====Clerical script====&lt;br /&gt;
&lt;br /&gt;
After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.&lt;br /&gt;
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.&lt;br /&gt;
&lt;br /&gt;
After the unification of China, the seal script was still popular, but could not satisfy the needs of people.Because of its lengthened and curved lines, it took more time to write.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:29, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Regular script====&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. quote missing --[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:43, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Formation of Chinese characters===&lt;br /&gt;
&lt;br /&gt;
====Pictograms====&lt;br /&gt;
&lt;br /&gt;
Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &amp;quot;sun,&amp;quot; 月 (yuè) for &amp;quot;moon,&amp;quot; and 木 (mù) for &amp;quot;tree.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
====Pictophonetic compounds====&lt;br /&gt;
&lt;br /&gt;
Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:48, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Ideograph ====&lt;br /&gt;
&lt;br /&gt;
Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &amp;quot;knife,&amp;quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &amp;quot;blade.&amp;quot; Other common examples are 上 (shàng) for &amp;quot;up&amp;quot; and 下 (xià) for &amp;quot;down.&amp;quot; This category is small, as most concepts can be represented by characters in other categories. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:53, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Logical aggregates====&lt;br /&gt;
&lt;br /&gt;
Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:54, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Associate transformation====&lt;br /&gt;
&lt;br /&gt;
Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &amp;quot;elderly person,&amp;quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others. quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Borrowing ====&lt;br /&gt;
&lt;br /&gt;
Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)&lt;br /&gt;
&lt;br /&gt;
===Simplification of Chinese characters===&lt;br /&gt;
&lt;br /&gt;
The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)  quote missing--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:03, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and expressions===&lt;br /&gt;
&lt;br /&gt;
1.Oracle Bone Inscriptions  甲骨文&lt;br /&gt;
&lt;br /&gt;
2.Bronze Inscriptions 金文&lt;br /&gt;
&lt;br /&gt;
3.Small seal characters 小篆&lt;br /&gt;
&lt;br /&gt;
4.Official script 隶书&lt;br /&gt;
&lt;br /&gt;
5.Regular script 楷书&lt;br /&gt;
&lt;br /&gt;
6.Cursive writing 草书&lt;br /&gt;
&lt;br /&gt;
7.Cang Jie 仓颉&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8.Clerical script 楷书&lt;br /&gt;
&lt;br /&gt;
9.Su Shi 苏轼&lt;br /&gt;
&lt;br /&gt;
10. Wang Xizhi 王羲之&lt;br /&gt;
&lt;br /&gt;
11.Ou Yangxun 欧阳询&lt;br /&gt;
&lt;br /&gt;
12.Yan Zhenqing 颜真卿&lt;br /&gt;
&lt;br /&gt;
13.Pictograms 象形&lt;br /&gt;
&lt;br /&gt;
14. Pictophonetic compounds 指事&lt;br /&gt;
&lt;br /&gt;
15.Ideograph 会意&lt;br /&gt;
&lt;br /&gt;
16.Logical aggregates 形声&lt;br /&gt;
&lt;br /&gt;
17.Associate transformation 转注&lt;br /&gt;
&lt;br /&gt;
18.Borrowing 假借&lt;br /&gt;
&lt;br /&gt;
===Question===&lt;br /&gt;
1.How many Chinese characters are there?&lt;br /&gt;
&lt;br /&gt;
2.How many letters are in the Chinese alphabet?&lt;br /&gt;
&lt;br /&gt;
3. How many formations of Chinese characters? What are they?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .&lt;br /&gt;
&lt;br /&gt;
2. There are 26 letters in Chinese alphabet.&lt;br /&gt;
&lt;br /&gt;
3. Six formations are included in Chinese characters system, and they are Pictograms&lt;br /&gt;
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1.王显春. 汉字的起源[M]. 学林出版社, 2002.&lt;br /&gt;
&lt;br /&gt;
2.刘又辛. &amp;quot;关于汉字发展史的几个问题(上).&amp;quot; 语文建设 12(1998):34-37.&lt;br /&gt;
&lt;br /&gt;
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188&lt;br /&gt;
&lt;br /&gt;
4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia,  https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.&lt;br /&gt;
&lt;br /&gt;
==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - Student No.20207080586 - 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===A.Chinese Knots===&lt;br /&gt;
&lt;br /&gt;
====1.A Brief Introduction about Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It &lt;br /&gt;
originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.&lt;br /&gt;
&lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional  decoration and aesthetics,which &lt;br /&gt;
earned the knot its name.&lt;br /&gt;
&lt;br /&gt;
====2.The Classification of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥&lt;br /&gt;
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井&lt;br /&gt;
结）,Cross Knot(十字结） and Ping Knot（平结）.&lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. &lt;br /&gt;
&lt;br /&gt;
=====2.1.The Double Coin Knot=====&lt;br /&gt;
&lt;br /&gt;
Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views &lt;br /&gt;
on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only &lt;br /&gt;
represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &amp;quot;luck money&amp;quot;. Therefore, for &lt;br /&gt;
the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes &lt;br /&gt;
&amp;quot;good things come in pairs&amp;quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful &lt;br /&gt;
patterns, such as clouds and Perfect Knots，etc.&lt;br /&gt;
&lt;br /&gt;
=====2.2.The Good Luck Knot=====&lt;br /&gt;
&lt;br /&gt;
As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.&lt;br /&gt;
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.&lt;br /&gt;
&lt;br /&gt;
=====2.3.The Pan Chang Knot=====&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the &lt;br /&gt;
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is &lt;br /&gt;
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.&lt;br /&gt;
&lt;br /&gt;
====3.The Knitting Method of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of  basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.&lt;br /&gt;
&lt;br /&gt;
The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.&lt;br /&gt;
&lt;br /&gt;
====4.The Cultural Connotations of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of &lt;br /&gt;
rope and thread.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. In addition, Chinese people are descendants of &lt;br /&gt;
dragons.Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &lt;br /&gt;
&amp;quot;knot&amp;quot;, which means reunion and happiness. Many of the Chinese words composed of &amp;quot;结&amp;quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交&lt;br /&gt;
（making friends), and 永结同心（tie the knot),etc. &amp;quot;结&amp;quot;(knot) is also homonymous with &amp;quot;吉&amp;quot;（ausipiciousness), so people even think that &amp;quot;knot&amp;quot; is a symbol of good luck.&lt;br /&gt;
&lt;br /&gt;
====5.Comparisons between Chinese Knots and Cross Necklaces====&lt;br /&gt;
&lt;br /&gt;
=====5.1.Different Cultural Connotations=====&lt;br /&gt;
&lt;br /&gt;
From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of &lt;br /&gt;
Christianity. The cross, derived from the Latin &amp;quot;crux&amp;quot;, means &amp;quot;fork&amp;quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient &lt;br /&gt;
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross &lt;br /&gt;
ornaments in the west as cross necknaces are usually used to represent love and salvation.&lt;br /&gt;
&lt;br /&gt;
=====5.2.Different Shapes=====&lt;br /&gt;
&lt;br /&gt;
Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have &lt;br /&gt;
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.&lt;br /&gt;
&lt;br /&gt;
====6.References====&lt;br /&gt;
&lt;br /&gt;
*李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.&lt;br /&gt;
&lt;br /&gt;
*李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.&lt;br /&gt;
&lt;br /&gt;
*许星.路论中国结[J].丝绸,2004(02) : 46-47.&lt;br /&gt;
&lt;br /&gt;
*邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.&lt;br /&gt;
&lt;br /&gt;
*王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Double Coin Knot  双钱结&lt;br /&gt;
&lt;br /&gt;
Good Luck Knot 吉祥结&lt;br /&gt;
&lt;br /&gt;
Chinese Button Knot 纽扣结&lt;br /&gt;
&lt;br /&gt;
Sauvastika Knot 万字结&lt;br /&gt;
&lt;br /&gt;
Oxalis Knot 酢浆草结&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot 盘长结&lt;br /&gt;
&lt;br /&gt;
Round Brocade Knot 团锦结&lt;br /&gt;
&lt;br /&gt;
Caisson Celling Knot 藻井结&lt;br /&gt;
&lt;br /&gt;
Cross Knot 十字结&lt;br /&gt;
&lt;br /&gt;
Ping Knot 平结&lt;br /&gt;
&lt;br /&gt;
tie the knot 永结同心&lt;br /&gt;
&lt;br /&gt;
luck money 压岁钱&lt;br /&gt;
&lt;br /&gt;
the bishop's identity 主教职权&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the Chinese knot?&lt;br /&gt;
&lt;br /&gt;
2. Do you know the names of the main Chinese knots? What are they?&lt;br /&gt;
&lt;br /&gt;
3. What do &amp;quot;绳&amp;quot; and &amp;quot;结&amp;quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.&lt;br /&gt;
&lt;br /&gt;
2.&lt;br /&gt;
&lt;br /&gt;
3.&lt;br /&gt;
&lt;br /&gt;
==Literature, Chinese Mythology, Guirou, Barthelemy, Comparative Literature and Cross-Cultural Studies 201921080010==&lt;br /&gt;
&lt;br /&gt;
[[File:Chinese Mythology.jpg|thumb|right|Panku]]&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.&lt;br /&gt;
&lt;br /&gt;
===A. Panku Created the World===&lt;br /&gt;
&lt;br /&gt;
In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).&lt;br /&gt;
&lt;br /&gt;
At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &amp;quot;li&amp;quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).&lt;br /&gt;
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.&lt;br /&gt;
&lt;br /&gt;
===B. NuWa Created Human Beings===&lt;br /&gt;
&lt;br /&gt;
[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]&lt;br /&gt;
&lt;br /&gt;
Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).&lt;br /&gt;
&lt;br /&gt;
As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.&lt;br /&gt;
 &lt;br /&gt;
During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.&lt;br /&gt;
&lt;br /&gt;
===C. Fushi Taught the People=== &lt;br /&gt;
&lt;br /&gt;
In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .&lt;br /&gt;
&lt;br /&gt;
Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &amp;quot;trigrams&amp;quot;,  in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &amp;quot;trigrams&amp;quot; was also a mean to interpret future and consult oracle about the right ways to follow.&lt;br /&gt;
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Finally, Fushi gave his last gift (music) in order people  can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &amp;quot;pipa&amp;quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history.  Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. &lt;br /&gt;
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===D. Water War===&lt;br /&gt;
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Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory.  Historically, both have terrible tempers and described as a very big giants with different shapes, Gong  shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body  with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).&lt;br /&gt;
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Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of  the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).&lt;br /&gt;
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In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc.&lt;br /&gt;
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===E. Terms and Expressions===&lt;br /&gt;
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Chinese Mythology 中国神话&lt;br /&gt;
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Panku 盤古&lt;br /&gt;
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Yin/Yang 陰陽 / 阴阳&lt;br /&gt;
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Nuwa 女媧&lt;br /&gt;
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Fushi 伏羲&lt;br /&gt;
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Water War 水战&lt;br /&gt;
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===F. Questions===&lt;br /&gt;
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1. Why an egg a good symbol for the beginning of the world?&lt;br /&gt;
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2. Why Nuwa decided to create human beings?&lt;br /&gt;
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3. What did Fushi taught to people?&lt;br /&gt;
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4. What was the cause of Gong and Zurong’s war and who won?&lt;br /&gt;
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===G. Answers===&lt;br /&gt;
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1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.&lt;br /&gt;
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2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.&lt;br /&gt;
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3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.&lt;br /&gt;
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4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.&lt;br /&gt;
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===References===&lt;br /&gt;
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1. Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.&lt;br /&gt;
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2. Irene Dea Collier. (2001). &amp;quot;Chinese Mythology&amp;quot;. Library of Congress Cataloging-in-Publication Data.&lt;br /&gt;
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3. https://pic.17qq.com/uploads/ijbphegbibz.jpeg&lt;br /&gt;
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4. https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 13:08, 15 December 2020 (UTC)--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:22, 16 December 2020 (UTC)&lt;br /&gt;
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==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译==&lt;br /&gt;
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===Chinese gods and immortals===&lt;br /&gt;
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====Chinese mythology system====&lt;br /&gt;
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Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.(Lü &amp;amp; Gong 2014, p. 71 )&lt;br /&gt;
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Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India.(Yang, An &amp;amp; Turner 2005, p.4)&lt;br /&gt;
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The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).1987.(Bai 1987, pp. 34-40)&lt;br /&gt;
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Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &amp;quot;Way&amp;quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life.(Olson &amp;amp; Stuart 2002, pp. 27-28)&lt;br /&gt;
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At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &amp;quot;most widely beloved Buddhist Divinity&amp;quot; with miraculous powers to assist all those who pray to her.(Buddhism, p37)&lt;br /&gt;
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====神 shén, 帝 dì and 仙 xiān====&lt;br /&gt;
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Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. dì, sometimes translated as &amp;quot;thearch&amp;quot;, implies a manifested or incarnate &amp;quot;godly&amp;quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.(Hu, 2020)&lt;br /&gt;
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There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.(Fowler &amp;amp; Jeanine 2005, pp. 200-201)&lt;br /&gt;
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====Eight immortals====&lt;br /&gt;
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The Eight Immortals are a group of legendary xian (&amp;quot;immortals&amp;quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &amp;quot;Covert Eight Immortals&amp;quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.(Yang,Deng &amp;amp; Wang 1987, pp. 40-45)&lt;br /&gt;
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The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism.(Yang,Deng &amp;amp; Wang 1987, pp. 45-50) &lt;br /&gt;
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The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &amp;quot;The Eight Immortals cross the sea, each reveals its divine powers&amp;quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000,pp. 313, 319–334)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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immortals 仙              &lt;br /&gt;
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mythology 神话，神话学&lt;br /&gt;
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cosmology 宇宙论，宇宙观    &lt;br /&gt;
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monolithic 整体（式）的&lt;br /&gt;
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the Battle of Zhuolu 涿鹿之战&lt;br /&gt;
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pantheistic 泛神论的       &lt;br /&gt;
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polytheistic 多神论的&lt;br /&gt;
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Three Pure Ones 三清&lt;br /&gt;
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anthropomorphic 人格化的&lt;br /&gt;
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tutelary 守护神            &lt;br /&gt;
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deity 神&lt;br /&gt;
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Buddha 佛                 &lt;br /&gt;
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Shakyamuni 释迦牟尼&lt;br /&gt;
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Amitabha 阿弥陀佛         &lt;br /&gt;
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Amitāyus 无量寿佛&lt;br /&gt;
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celestial 天的            &lt;br /&gt;
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Bodhisattva 菩萨          &lt;br /&gt;
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Pure Land 极乐世界         &lt;br /&gt;
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vessels 法器&lt;br /&gt;
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Covert Eight Immortals 暗八仙    &lt;br /&gt;
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Taoist 道家的，道士&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What are the topics of the Ancient mythology?&lt;br /&gt;
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2. What are the differences among shén, dì and xiān?&lt;br /&gt;
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3. What do the Eight immortals represent respectively?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.&lt;br /&gt;
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2. shén and dì corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.&lt;br /&gt;
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3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.&lt;br /&gt;
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[2]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.&lt;br /&gt;
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[3]Bai Yang. Chinese Huamn History. Time Literature &amp;amp; Art Press, 1987.&lt;br /&gt;
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[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp;amp; Company.&lt;br /&gt;
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[5]Buddhism, the Fulfilment of Hinduism&lt;br /&gt;
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[6]Hu Yanan. From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University,2020.&lt;br /&gt;
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[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.&lt;br /&gt;
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[8]Yang Erzeng, Deng Zhimo, Wang Xiangxu. A Full Story Book of Eight Immortals. Spring Breeze Literature &amp;amp; Are Press,1987.&lt;br /&gt;
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[9]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.&lt;br /&gt;
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==Literature, Tang and Song - Guo Lu 郭露 202070080588 MTI==&lt;br /&gt;
[suggestion:Literature, Tang and Song - Guo Lu 郭露 202070080588, here, your major is missing.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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===Classical Prose Movement of late Tang Dynasty and Song Dynasty===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)&lt;br /&gt;
[suggestion:……and Confucianism Renaissance as its deep. Here, &amp;quot;deep&amp;quot; may be replaced by &amp;quot;depth&amp;quot;.&lt;br /&gt;
The word “Gu Wen” was first introduced by Han Yu, (Here, you can add a word &amp;quot;and&amp;quot;)it indicates the prose in the pre-Qin period and Han Dynasty.]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Development====&lt;br /&gt;
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The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)&lt;br /&gt;
[suggestion:(Here, &amp;quot;Both&amp;quot; can be replaced by &amp;quot;They both&amp;quot;.)Both were enthusiastic to promote the movement……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)&lt;br /&gt;
[suggestion:However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. (Here, this sentence doesn't have a predicate, so you may change the word &amp;quot;writing&amp;quot; into &amp;quot;wrote&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) &lt;br /&gt;
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====Representatives====&lt;br /&gt;
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'''1.Han Yu'''&lt;br /&gt;
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Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)&lt;br /&gt;
[suggestion:Han Yu (768 – Here, you may delete the space.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. (And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC) &lt;br /&gt;
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Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)&lt;br /&gt;
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'''2.Liu Zongyuan'''&lt;br /&gt;
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Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese litterateur, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &amp;quot;Jiangxue&amp;quot;. (Yang Shengli 2020, 42-44)&lt;br /&gt;
[suggestion:(773 – Here, you may delete the space. 819);(And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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'''3.Ouyang Xiu'''&lt;br /&gt;
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Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)&lt;br /&gt;
[suggestion:(1007 – Here, you may delete the space. 1072);(And this sentence doesn't have a predicate, so you may add &amp;quot;is&amp;quot; before the word &amp;quot;also&amp;quot;, and &amp;quot;for&amp;quot; after &amp;quot;known&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)&lt;br /&gt;
&lt;br /&gt;
Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)&lt;br /&gt;
[suggestion:Except(Here, you may change &amp;quot;Except&amp;quot; into &amp;quot;Besides&amp;quot;.) for Han Yu, Liu Zongyuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Masterworks====&lt;br /&gt;
&lt;br /&gt;
Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)&lt;br /&gt;
[suggestion:Except for(Here, you may change &amp;quot;Except for&amp;quot; into &amp;quot;Besides&amp;quot;.) the works of Han Yu, Liu Zong Yuan and Ouyang Xiu,……]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
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====Influence====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家&lt;br /&gt;
&lt;br /&gt;
Classical Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
''Eight Records of Excursions in Yongzhou'' 《永州八记》&lt;br /&gt;
&lt;br /&gt;
''On Teachers'' 《师说》&lt;br /&gt;
&lt;br /&gt;
''New Book of Tang'' 《新唐书》&lt;br /&gt;
&lt;br /&gt;
''Historical Records of the Five Dynasties'' 《新五代史》&lt;br /&gt;
&lt;br /&gt;
''Zuiweng Tingji'' 《醉翁亭记》&lt;br /&gt;
&lt;br /&gt;
''Shang Zhongyong'' 《伤仲永》&lt;br /&gt;
&lt;br /&gt;
''On Jia Yi'' 《贾谊论》&lt;br /&gt;
&lt;br /&gt;
''First Ode to the Red Cliff'' 《赤壁赋》&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Who were the first promoters of the Classical Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2. What does the Classical Prose Movement mean?&lt;br /&gt;
&lt;br /&gt;
3. What's political and religious purposes of the Classical Prose Movement?&lt;br /&gt;
&lt;br /&gt;
====Answers====&lt;br /&gt;
&lt;br /&gt;
1. The first promoters of this movement were Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.&lt;br /&gt;
[suggestion: The reason what…….(Here, you may change &amp;quot;what&amp;quot; into &amp;quot;why&amp;quot;.)]--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:40, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.&lt;br /&gt;
&lt;br /&gt;
Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.&lt;br /&gt;
&lt;br /&gt;
Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.&lt;br /&gt;
&lt;br /&gt;
Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.&lt;br /&gt;
&lt;br /&gt;
Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.&lt;br /&gt;
&lt;br /&gt;
Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.&lt;br /&gt;
&lt;br /&gt;
Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.&lt;br /&gt;
&lt;br /&gt;
==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang - 201921080008==&lt;br /&gt;
&lt;br /&gt;
===The Chinese Red Envelope and Lucky money tradition===&lt;br /&gt;
&lt;br /&gt;
In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.&lt;br /&gt;
&lt;br /&gt;
====The Legend====&lt;br /&gt;
&lt;br /&gt;
In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
&lt;br /&gt;
One tale of the folklore, once upon a time, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
&lt;br /&gt;
There are also other legends about this custom related to the son Duong Quy Phi of the Tang dynasty - China and the Qin dynasty. But in general, the New Year's blessing of the lucky money all originates with the meaning of giving happy money to children, wishing them to grow up their money so they can pass the new age with good things and luck.&lt;br /&gt;
&lt;br /&gt;
====The tradition====&lt;br /&gt;
&lt;br /&gt;
The Chinese custom of lucky money is called &amp;quot;Hongbao&amp;quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The red envelope is called yasui qian (压岁钱 /Yāsuìqián/), which means &amp;quot;suppressing ghosts money&amp;quot;. Those who receive a red envelope are wished another safe and pea Sending red envelopes is a way to send good wishes another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it, it is impolite to open a red envelope in front of the person who gives it to you. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.&lt;br /&gt;
&lt;br /&gt;
Red envelopes, also called red packets, lucky money, or &amp;quot;hongbao&amp;quot; in Chinese, &amp;quot;li shi&amp;quot; / &amp;quot;li xi&amp;quot; in Vietnamese are a popular monetary gift given on some important occasions or festivals in China, Vietnam, Korea, Japan, some other Asian countries, especially widely seen during the Chinese New Year (Spring Festival). During Lunar New Year, the adult, parents and grandparents gift with  the red envelops for kids, which have money stuffed into.&lt;br /&gt;
&lt;br /&gt;
====Outside of China====&lt;br /&gt;
&lt;br /&gt;
The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.&lt;br /&gt;
&lt;br /&gt;
Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.&lt;br /&gt;
In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.&lt;br /&gt;
&lt;br /&gt;
In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.&lt;br /&gt;
&lt;br /&gt;
In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
Luckymoney 利市 /Lì shì/ &lt;br /&gt;
&lt;br /&gt;
Red envelope 紅包 /Hóngbāo/ &lt;br /&gt;
&lt;br /&gt;
Confucianism 儒教 /Rújiào/ &lt;br /&gt;
&lt;br /&gt;
Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Do you know the origin of giving Lunar new year lucky money to children？&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]&lt;br /&gt;
&lt;br /&gt;
==Calendar, The 24 Solar Terms - He Changqi 何长琦 student No. and 专业 are missing --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:37, 17 December 2020 (UTC)==&lt;br /&gt;
&lt;br /&gt;
==='''The Twenty-four Solar Terms'''===&lt;br /&gt;
==='''The Twenty-four Solar Terms'''===[maybe this should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===1. The orgin and development of the twenty-four solar terms===&lt;br /&gt;
===1. The Orgin and Development of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“The twenty-four solar terms” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The 24 solar terms&amp;quot; is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）[suggestion:the quotation mark in English and in Chinese should be distinguished.In Chinese, it is “”;in English, it is &amp;quot;&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:37, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）&lt;br /&gt;
&lt;br /&gt;
By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete twenty-four solar terms system.（Wang Jiahua 2019）[suggestion:the last sentence is too long to read.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:42, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. The definition and classification of the 24 solar terms===&lt;br /&gt;
===2. The Definition and Classification of the 24 Solar Terms===[suggestion:the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The 24 solar term&amp;quot; is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016:34-35)[suggestion:it will be better if you use Arabic numerals or its English version uniformly in the whole passage; please pay attention to the difference of quotation mark in Chinese and English.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)&lt;br /&gt;
&lt;br /&gt;
A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016:34-35)[maybe there is a wrong word &amp;quot;meddle&amp;quot;, it should be &amp;quot;middle&amp;quot; .]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)&lt;br /&gt;
&lt;br /&gt;
The 8 solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the 4 solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016:34-35)[suggestion:it will be better if a uniform numeral format is used.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:54, 17 December 2020 (UTC)&lt;br /&gt;
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===3.Folklore of the 24 solar terms===&lt;br /&gt;
===3.Folklore of the 24 Solar Terms===[the first letters should be capitalized.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)&lt;br /&gt;
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The folklore of the 24 solar terms is divided into three areas: festival folklore, lifestyle customs and food customs. Festive customs such as the &amp;quot;whipping of the spring bull&amp;quot; at the beginning of spring and the &amp;quot;tailing festival&amp;quot; at the end of the cold season.((Ding Yiming. Chang He 2020)) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &amp;quot;the unity of heaven and man, in accordance with the four seasons&amp;quot;, the twenty-four solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. &lt;br /&gt;
&lt;br /&gt;
The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the &amp;quot;whipping of the spring bull&amp;quot; at the beginning of spring and the &amp;quot;tailing festival&amp;quot; at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of &amp;quot;the unity of heaven and man, in accordance with the four seasons&amp;quot;, the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc. [suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:07, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &amp;quot;biting the spring&amp;quot; on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan. Zou Yating 2020)&lt;br /&gt;
&lt;br /&gt;
These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of the Begining of Spring, he will have good luck in the future. In many parts of China, people observe the custom of &amp;quot;biting the spring&amp;quot; on the first day of the Begining of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of the Begining of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 16:08, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===4.Importance and values of of the 24 solar terms===&lt;br /&gt;
===4.Importance and Values of the 24 Solar Terms===[suggestion:it will be better if the first letters are capitalized; the &amp;quot;of&amp;quot; should be deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
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===4.1 Importance in ancient times===&lt;br /&gt;
====4.1 Importance in Ancient Times====[the subtitle should add a mark as &amp;quot;=&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.&lt;br /&gt;
&lt;br /&gt;
The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people.[suggestion:quotation is missing.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). (Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is the most basic function of the 24 solar terms. Agricultural production is an economic activity carried out by humanity in accordance with natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). (Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and  an important manifestation and part of their colourful lives.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms were also regarded as important time points in the daily life of ancient people. Thirdly, for the ancient ancestors, the 24 solar terms were more than a time system, they were also a connotation of life, an important manifestation and part of their colourful lives.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
For example, the &amp;quot;Four Beginnings&amp;quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
For example, the &amp;quot;Four Beginnings&amp;quot;(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals .(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===4.2 Values in modern society===&lt;br /&gt;
====4.2 Values in Modern Society====[suggestion:it will be better if the first letters are capitalized; the subtitle should add a mark as &amp;quot;=&amp;quot;]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming. Chang He 2020)&lt;br /&gt;
&lt;br /&gt;
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation.(Ding Yiming, Chang He 2020)[suggestion:a comma should be used between the two authors in references, not a full stop.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
It still has its practical values in modern society.Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
It still has its practical values in modern society.Firstly, as a time-honoured knowledge system and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations. Specifically, respecting nature, adapting to the time of the day, venerating ancestors, showing filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature.(Wang Jiahua 2019) &lt;br /&gt;
&lt;br /&gt;
Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019) [suggestion:maybe it will be better if &amp;quot;reflect&amp;quot; is deleted.]--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
the Beginning of Spring	立春&lt;br /&gt;
 	&lt;br /&gt;
Beginning of Autumn 立秋&lt;br /&gt;
&lt;br /&gt;
Rain Water 雨水 &lt;br /&gt;
&lt;br /&gt;
End of Heat 处暑&lt;br /&gt;
&lt;br /&gt;
Insects Awakening 惊蛰 	&lt;br /&gt;
&lt;br /&gt;
White Dew 白露&lt;br /&gt;
&lt;br /&gt;
Spring Equinox 春分 &lt;br /&gt;
&lt;br /&gt;
Autumnal Equinox 秋分&lt;br /&gt;
&lt;br /&gt;
Fresh Green 清明 &lt;br /&gt;
&lt;br /&gt;
Cold Dew 寒露&lt;br /&gt;
&lt;br /&gt;
Grain Rain 谷雨	&lt;br /&gt;
&lt;br /&gt;
First Frost 霜降 &lt;br /&gt;
&lt;br /&gt;
Beginning of Summer 立夏 &lt;br /&gt;
&lt;br /&gt;
Beginning of Winter 立冬&lt;br /&gt;
&lt;br /&gt;
Lesser Fullness	小满 	&lt;br /&gt;
&lt;br /&gt;
Light Snow 小雪&lt;br /&gt;
&lt;br /&gt;
Grain in Ear 芒种	&lt;br /&gt;
&lt;br /&gt;
Heavy Snow 大雪&lt;br /&gt;
&lt;br /&gt;
Summer Solstice	夏至&lt;br /&gt;
 	&lt;br /&gt;
Winter Solstice	冬至&lt;br /&gt;
&lt;br /&gt;
Lesser Heat 大暑&lt;br /&gt;
 	&lt;br /&gt;
Lesser Cold 小寒&lt;br /&gt;
&lt;br /&gt;
Greater Heat 立春 &lt;br /&gt;
	&lt;br /&gt;
Greater Cold 大寒&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.1.What are the first four solar terms measured by ancient Chinese people?&lt;br /&gt;
1.What are the first four solar terms measured by ancient Chinese people?--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 01:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.Where does the 24 solar terms originate from?&lt;br /&gt;
&lt;br /&gt;
3. What are the eight solar terms that reflect seasonal changes？&lt;br /&gt;
&lt;br /&gt;
4.When was the 24 solar terms included in the World Intangible Cultural Heritage List? &lt;br /&gt;
&lt;br /&gt;
5.What are the food customs in the Beginning of Spring?&lt;br /&gt;
&lt;br /&gt;
6.Do you konw any other folklore of the 24 solar terms?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.&lt;br /&gt;
&lt;br /&gt;
2.It originated in the Yellow River valley.&lt;br /&gt;
&lt;br /&gt;
3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice&lt;br /&gt;
&lt;br /&gt;
4.In 2016.&lt;br /&gt;
&lt;br /&gt;
5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.&lt;br /&gt;
&lt;br /&gt;
6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the &amp;quot;Sage of Medicine&amp;quot;, invented the &amp;quot;jiaozi&amp;quot; to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as &amp;quot;dumpling&amp;quot; or jiaozi. Today there is still a saying that goes &amp;quot;Eat dumplings on Start of Winter Day, or your ears will be frostbitten.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Yuan Jix. 袁济喜. (2016). &amp;quot;中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)&lt;br /&gt;
&lt;br /&gt;
Wang Jiahua. 王加华.（2019.9.20）&amp;quot;China Social Science Network&amp;quot; http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml&lt;br /&gt;
&lt;br /&gt;
Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）&amp;quot;Chinanews&amp;quot; http://www.chinanews.com/cul/2020/11-17/9340057.shtml &lt;br /&gt;
&lt;br /&gt;
He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html&lt;br /&gt;
&lt;br /&gt;
==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 English Translation==&lt;br /&gt;
&lt;br /&gt;
===Collection of Yue Fu Poetry《乐府诗集》===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
'''1.Brief introduction'''&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. &amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.(Wu Ting 2007, 20)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre-Qin to the end of Tang Dynasty. &amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.About the author'''&lt;br /&gt;
&lt;br /&gt;
Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation. (Wu Ting 2007, 22)&lt;br /&gt;
&lt;br /&gt;
'''3.Content introduction'''&lt;br /&gt;
&lt;br /&gt;
It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &amp;quot;Yuefu Poetry Collection&amp;quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)&lt;br /&gt;
&lt;br /&gt;
====Masterpieces====&lt;br /&gt;
&lt;br /&gt;
'''1.''The Peacock Flies to Southeast'''''&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for free love and happy life is placed. (Wu Ting 2007, 36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.''Mulan Poetry'''''&lt;br /&gt;
&lt;br /&gt;
''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.(Wu Ting 2007, 41)&lt;br /&gt;
&lt;br /&gt;
''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man and joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for a reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Evaluation====&lt;br /&gt;
&lt;br /&gt;
'''1.Contributions'''&lt;br /&gt;
&lt;br /&gt;
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former.(Yu Yizhi 2002, 105) &lt;br /&gt;
&lt;br /&gt;
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of the Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105) --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.(Yu Yizhi 2002, 105)&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literary history and music history. There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but the narrative is attached to the lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.Shortcomings'''&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.(Yu Yizhi 2002, 107)&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry''. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University (12)20-41.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University (10)105-107.&lt;br /&gt;
&lt;br /&gt;
Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in ''Collection of Yuefu Poertry''].Nanchang:Nanchang University 南昌大学 (12) 20-41.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:05, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the ''Collection of Yuefu Poetry'']. Shanghai: Shanghai Normal University 上海师范大学 (10)105-107.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:56, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry''《乐府诗集》&lt;br /&gt;
&lt;br /&gt;
Jiaomiao songs郊庙歌辞&lt;br /&gt;
&lt;br /&gt;
Yanshe songs燕射歌辞&lt;br /&gt;
&lt;br /&gt;
Guchui drum songs鼓吹曲辞&lt;br /&gt;
&lt;br /&gt;
Hengchui songs横吹曲辞&lt;br /&gt;
&lt;br /&gt;
Xianghe songs相和歌辞&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' 《孔雀东南飞》&lt;br /&gt;
&lt;br /&gt;
''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.When was Yuefu Poetry compiled？&lt;br /&gt;
&lt;br /&gt;
2.Which institution did &amp;quot;Yuefu&amp;quot; belong to?&lt;br /&gt;
&lt;br /&gt;
3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.In Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
2.It belongs to the institution in charge of music.&lt;br /&gt;
&lt;br /&gt;
3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Cuisines, Eight Major Cuisines in China - Hu Jin 胡瑾 202070080591 英语笔译==&lt;br /&gt;
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===Eight Major Cuisines of China===&lt;br /&gt;
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====1. A Brief Introduction About Chinese Cuisine====&lt;br /&gt;
1. A Brief Introduction About Chinese Cuisines--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:16, 19 December 2020 (UTC)&lt;br /&gt;
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As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &amp;quot;four major cuisines.&amp;quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &amp;quot;eight major cuisines&amp;quot; of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)&lt;br /&gt;
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====2. The Classification of Chinese Cuisines====&lt;br /&gt;
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China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around. (Shi Hongmei 2009, 34)&lt;br /&gt;
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China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:25, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.1 Shandong Cuisine=====&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)&lt;br /&gt;
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Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:27, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.2 Sichuan Cuisine=====&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one &lt;br /&gt;
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)&lt;br /&gt;
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Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:30, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.3 Guangdong Cuisine=====&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)&lt;br /&gt;
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Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:32, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.4 Fujian Cuisine=====&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &amp;quot;pickled taste&amp;quot;. (Shi Hongmei 2009, 55)&lt;br /&gt;
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Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their &amp;quot;pickled taste&amp;quot;. (Shi Hongmei 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:34, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.5 Jiangsu Cuisine=====&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)&lt;br /&gt;
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Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:38, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.6 Zhejiang Cuisine=====&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)&lt;br /&gt;
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Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:43, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.7 Hunan Cuisine=====&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. (Shi Hongmei 2009, 65)&lt;br /&gt;
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Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:44, 19 December 2020 (UTC)&lt;br /&gt;
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=====2.8 Anhui Cuisine=====&lt;br /&gt;
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)&lt;br /&gt;
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Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:46, 19 December 2020 (UTC)&lt;br /&gt;
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====3. A Comparison of Chinese-Western Diet Culture====&lt;br /&gt;
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Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)&lt;br /&gt;
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Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
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Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)&lt;br /&gt;
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Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
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However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)&lt;br /&gt;
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However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
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There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)&lt;br /&gt;
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There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 08:52, 19 December 2020 (UTC)&lt;br /&gt;
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====References====&lt;br /&gt;
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Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 78-83.&lt;br /&gt;
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Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. ''邵阳学院学报'' Journal of Shaoyang University 56-67.&lt;br /&gt;
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Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. ''外语教学与研究出版社'' Foreign Language Teaching and Research Press 212-217.&lt;br /&gt;
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Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. ''中国食物与营养'' Food and Nutrition in China (10) 62－64．&lt;br /&gt;
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Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. ''河北师范大学'' Hebei Normal University 34-68.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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pot-stewed fowl 卤味&lt;br /&gt;
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stewing and simmering 炖，煨&lt;br /&gt;
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prickly ash 花椒&lt;br /&gt;
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fermented soybean 豆鼓&lt;br /&gt;
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Braised Dongpo Pork 东坡肉&lt;br /&gt;
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Buddha Jumps over the Wall 佛跳墙&lt;br /&gt;
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Kung Pao Chicken 宫保鸡丁&lt;br /&gt;
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Bean Sauce Tofu 麻婆豆腐&lt;br /&gt;
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===Questions===&lt;br /&gt;
1. How many types of cuisines are there in china?&lt;br /&gt;
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2. What’s differences between Chinese and western diets?&lt;br /&gt;
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3. What is the origin of Dongpo Meat?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1. Eight&lt;br /&gt;
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2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a  more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. &lt;br /&gt;
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3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.&lt;br /&gt;
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==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636 2020英语口译 Interpreting==&lt;br /&gt;
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Chinese Paper Cutting 剪纸&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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With a long history, papercutting could be dated back to 2000 years ago in China according to the archaeological records. It originated in ancient ancestor worship activities which people pray for their ancestor and god. Later, with the widespread papercutting technique and people’s growing love for it, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, papercutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016: 3)&lt;br /&gt;
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===History===&lt;br /&gt;
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The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk fabrics, as well as cloth, silk, etc., were cut into certain shapes to decorate, which lay a solid foundation for the art of papercutting. (Li &amp;amp; Zhang 2015: 7)&lt;br /&gt;
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As the paper is not easy to preserve, few of the paper works could survive to the modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan（吐鲁番）, in the Xinjiang Uygur Autonomous Region.” (Folk Handicrafts)&lt;br /&gt;
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In the dynasty the custom of papercutting began to be popular, and the handicraft man cut paper to different shapes, and each owns its name. Namely, the shape of square was named “Fangsheng”, the flower shape was called “Huasheng”, the people shaped “rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in(正仓院) in Japan. (Li &amp;amp; Zhang 2015: 7-8)&lt;br /&gt;
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By the Song Dynasty, with the prosperous development of economy and culture, in addition to daily decoration, papercutting was used for crafts such as porcelain and blue calico. (蓝印花布) (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
The art of papercutting became mature in Yuan, Ming and Qing dynasties. There emerged well designed papercutting works in the Yuan dynasty, and collectors began to collect paper-cutting works as artwork. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern (夹纱灯) as an representative. It is a lantern with papercutting clipped in, candlelight reflecting the pattern. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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Since its birth, the art of papercutting has never been interrupted.In its long history, it evolved in art and pottery, printing, dyeing and other art intertwined, being an indispensable part of people’s life. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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===Five Regions===&lt;br /&gt;
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The distribution area of Chinese folk paper-cutting, according to the historical changes, geography, ecological environment changes, cultural development differences and paper-cutting itself in the aesthetic, style of mutual influence and so on, for a comprehensive consideration, can be divided into five regions: (Wang 2006:106)&lt;br /&gt;
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Northeast Changbai Mountains area: It mainly covers Changbai Mountain area in Heilongjiang province, Liaoning province. As the birthplace of the nation of Man, the papercutting here herited the culture and customs of Man. (Wang 2006:106)&lt;br /&gt;
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Yellow river basin area: With the north of Shaanxi papercutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006:106)&lt;br /&gt;
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Yangtze River basin area: It covers papercutting in Sichuan, Hubei, Hunan and Jiangsu provinces. Influenced by folk farming culture and the Confucian culture in the Han dynasty, papercutting in this region is in the rough in shape but bears a sense of delicacy.  (Wang 2006:106)&lt;br /&gt;
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The southeastern coastal area: It is highlighted by the papercutting of Zhejiang and Fujian provinces. This region, more affluent. Paper-cutting creation, especially in Zhejiang Jinhua, Guangdong Foshan as the representative, in the history of cultural development, the vein is also more distinct, its aesthetic interest, tends to be elegant and common appreciation. (Wang 2006:106)&lt;br /&gt;
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Southwestern minority areas: It is characterized by papercutting in the minorities in Yunan and Guizhou province. Many paper cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of papercutting. (Wang 2006:107)&lt;br /&gt;
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===Techniques===&lt;br /&gt;
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There are various ways to make papercutting works, include folding paper-cutting, smoked paper-cutting(熏样剪纸), color-collage paper-cutting, paper-cutting and tongcun paper-cutting , but the most common ones are mono-colored and dot-colored. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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Mono-colored papercutting refer to cut or curve with a single-colored paper, mostly in red. Since ancient times, the Chinese revered the red, whenever there are grand celebration ceremonies or festivals, red is the main color, featuring warmth, passion and also brightness and happiness. However, mono-colored papercutting is also available in black or other colors, which are used according to different circumstances and situations, among which white papercutting is mostly used as the base sample for embroidery. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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Dyed papercutting also called dotted paper cuttings. The paper is mostly Xuan paper, a kind of thin white paper absorbs water easily. Twenty or thirty pieces of such paper are put into pile and the pattern is carved out with a knife. Then the mass of paper is dyed.After the dying process, the colors become rich and elegant, with endless changes and a strong local flavor. The dyed papercutting is mainly found in Hebei, Shanxi and Guangdong province, among which the dotted paper cuttings in Weixian, Hebei is very unique. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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===Themes===&lt;br /&gt;
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Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, animals and birds, twelve zodiac animals, pavilions and pavilions, totem worship(图腾崇拜), religious belief. Its connection with the major festivals and traditional customs find its expression in every aspects of life.Papercutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women &amp;quot;drop their hoes and pick up scissors to cut papers&amp;quot;; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures and Spring Festival couplets (春联) to create an lively environment for the new year. (Li &amp;amp; Zhang 2015: 8)&lt;br /&gt;
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It is the rural working women who are the majority of creator of the delicate papercutting. When they were five or six years old or seven or eight years old, they began to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk papercutting has been passed down from generation to generation. They are devoutly devoted to the papercutting that are rich in connotations such as prosperity, peace and good fortune, happiness, prosperity, health and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li &amp;amp; Zhang 2015: 9)&lt;br /&gt;
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===References===&lt;br /&gt;
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Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.&lt;br /&gt;
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Li Youyou &amp;amp; Zhang JIngjuan 李有有&amp;amp;张静娟. (2015) 剪纸 [paper-cut] 北京中国旅游出版社 Beijing: China Travel &amp;amp; Tourism Press.&lt;br /&gt;
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Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Dyed papercutting 点染剪纸&lt;br /&gt;
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Mono-colored papercutting 单色剪纸&lt;br /&gt;
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Shōsō-in 正仓院&lt;br /&gt;
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smoked paper-cutting熏样剪纸&lt;br /&gt;
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Spring Festival couplets 春联&lt;br /&gt;
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totem worship图腾崇拜&lt;br /&gt;
&lt;br /&gt;
Turfan吐鲁番&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Where was the earliest papercutting found in China?&lt;br /&gt;
&lt;br /&gt;
2. How many regions the distribution of Papercutting can be divided into?&lt;br /&gt;
&lt;br /&gt;
3. Which two types of papercutting are the most common ones?&lt;br /&gt;
&lt;br /&gt;
4. What could be the themes of the papercutting?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.&lt;br /&gt;
&lt;br /&gt;
2. Mono-colored papercutting and dyed papercutting.&lt;br /&gt;
&lt;br /&gt;
3. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, The southeastern coastal area and Southwestern minority areas.&lt;br /&gt;
&lt;br /&gt;
4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, birds and animals, animals and birds, twelve zodiac animals, pavilions and pavilions, totem worship, religious belief.&lt;br /&gt;
&lt;br /&gt;
==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===The Chinese Medical Sage - Zhang Zhongjing===&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)&lt;br /&gt;
&lt;br /&gt;
Later, people called the doctor who sat in the drugstore to treat patients &amp;quot;the doctor sitting in the hall&amp;quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)&lt;br /&gt;
&lt;br /&gt;
When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
There is a Chinese saying that goes, &amp;quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&amp;quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
In fact, the way of making &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &amp;quot;Jiao Er&amp;quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &amp;quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&amp;quot; (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[File:Zhang_Zhongjing.jpg]]&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
(2003). 张仲景故乡的二十四个故事(六) 饺子的来历[J] [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. ''首都医药'' Capital Medicine (17) 40.&lt;br /&gt;
&lt;br /&gt;
Zhang Maoyun 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of ''Treatise on Febrile and Miscellaneous Diseases'' and the Lifeyime of Zhang Zhongjing]. ''中国中医药现代远程教育'' Chinese Medicine Modern Distance Education of China (04) 19-20.&lt;br /&gt;
&lt;br /&gt;
Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景[J] [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''中国卫生人才'' China Health Human Resources (07) 88-89.&lt;br /&gt;
&lt;br /&gt;
Zhang Deli 张德礼. (2019). 心系百姓的“医圣”张仲景[J] [People's Medical Sage Zhang Zhongjing]. ''现代班组'' Morden Group (05) 37.&lt;br /&gt;
&lt;br /&gt;
Tan Rongzhou 覃荣周. (2013). 张仲景对我国医学发展的历史贡献[J] [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. ''兰台世界'' Lantai World (07) 55-56.&lt;br /&gt;
&lt;br /&gt;
Zhao Qingxin 赵清新. (1999). 万世医宗张仲景[J] [&amp;quot;Medical Sage&amp;quot; Zhang Zhongjing]. ''解放军健康'' PLA Health (05) 36.&lt;br /&gt;
&lt;br /&gt;
Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下[J] [Zhang Zhongjing: the Name of &amp;quot;Medical Sage&amp;quot; Spreads all over the World]. ''月读'' Monthly Read (03) 4-13.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
medical sage 医圣&lt;br /&gt;
&lt;br /&gt;
''Treatise on Febrile and Miscellaneous Diseases''《伤寒杂病论》&lt;br /&gt;
&lt;br /&gt;
treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治&lt;br /&gt;
&lt;br /&gt;
yamen 衙门&lt;br /&gt;
&lt;br /&gt;
Great Cold ( 24th solar term ) 大寒&lt;br /&gt;
&lt;br /&gt;
Slight Cold ( 23rd solar term ) 小寒&lt;br /&gt;
&lt;br /&gt;
look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切&lt;br /&gt;
&lt;br /&gt;
Cold Dispelling Jiaoer Soup 祛寒娇耳汤&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What's the honorable title Zhang Zhongjing addressed as?&lt;br /&gt;
&lt;br /&gt;
2. What's the official role Zhang once taken?&lt;br /&gt;
&lt;br /&gt;
3. When would Zhang treat patients for free at yamen?&lt;br /&gt;
&lt;br /&gt;
4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?&lt;br /&gt;
&lt;br /&gt;
5. What's the relationship between Zhang Zhongjing and dumplings?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Medical Sage.&lt;br /&gt;
&lt;br /&gt;
2. Changsha magistrate.&lt;br /&gt;
&lt;br /&gt;
3. He treated patients for free on the first and fifteenth days of every lunar month.&lt;br /&gt;
&lt;br /&gt;
4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.&lt;br /&gt;
&lt;br /&gt;
5. Dumplings are derived from the recipe &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot; developed by Zhang Zhongjing.&lt;br /&gt;
 &lt;br /&gt;
--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201214_trans&amp;diff=111462</id>
		<title>20201214 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201214_trans&amp;diff=111462"/>
		<updated>2020-12-13T11:48:49Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Yi Zichu 义子楚 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
In fact, reportage research and composition along with organizing and performing in roving theatrical troupes became one of the principal modes of ”internship” for young writers in the socialist educational system as it emerged in Yan’an.&lt;br /&gt;
&lt;br /&gt;
Yang Shuo, Liu Baiyu, and Qin Mu were all in their twenties at this time, so they had limited literary experience before the 1940s.  Thus for Liu and Yang, the Yan’an years helped define for them what literature is supposed to be from process to product.  Qin Mu, however, never went to Yan’an; he spent the entire war in Guangdong, Guangxi and Guizhou.  Thus though he had experience with some of these procedures of production in progressive circles in those areas, Qin Mu was not saturated in this kind of cultural environment.&lt;br /&gt;
&lt;br /&gt;
事实上，在延安出现的社会主义教育体系中，报道文学的研究与创作和组织并参演剧团演出一起，成为青年作家的主要“实习”方式之一。&lt;br /&gt;
&lt;br /&gt;
杨朔，刘白羽和秦牧当时都是二十来岁，所以他们在四十年代前的文学经验有限。对于刘白羽和杨朔而言，那段延安时光帮助他们定义了文学是如何由形成到产出的。秦牧却没有去过延安，他的整个战争时期都是在广东，广西和贵州度过的。因此，即便他在一些抗战区域有相关经验，秦牧仍然是没有被这种文化环境所浸染的。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:39, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
Once socialism or communism took the position of power (as in Yan’an during the war against Japan and then throughout the PRC after 1949) critical prose writing (whether essays or reportage) as it had been practiced during wartime became much more dubious from the point of view of cultural officials, and nonfiction needed to become a vehicle of literary celebration of public, historical achievements.[	See for example Yang Shuo, ”Qian jin, gangtie de dajun” (March Forth, Great Army of Steel, 1949), Zhonghua sanwen zhencang ben, Yang Shuo juan (Beijing:  Renmin wenxue chubanshe, 1998) 25-33; ”Pingchang de ren” (An ordinary man, 1951) 25-33; ”Pingchang de ren” (An ordinary man, 1951), Yang Shuo juan 13-17, ”Gebi tan shang de chuntian” (Springtime on the Gobi, 1953), Yang Shuo juan 29-33. ]  This is precisely the familiar dilemma of Ding Ling, coming into Yan’an society well trained as a keen critic of her environment.  It was an awkward transition, except for those who came into the socialist educational cultural system while still relatively young.  To them the business of literature was that of constructing an unprecedented new vision.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
'''Writers’ changing roles changed literary prose'''&lt;br /&gt;
&lt;br /&gt;
Each of the three authors I am discussing here was born between 1913 and 1919, only a few short years after the fall of the Qing dynasty and the establishment of the Republic of China.  They were all in their late teens and early twenties at the outbreak of the war against Japan.  Being roughly the same age, they shared the same historical and cultural atmosphere, but being in different locations, engaged in the war in different capacities, their transition into the aesthetics of incongruous lyricism took different paths and thus embodied different tensions.&lt;br /&gt;
&lt;br /&gt;
'''作者的角色变化改变了文学散文的面貌'''&lt;br /&gt;
&lt;br /&gt;
我在此探讨的三位作家都出生于1913至1919年间，距清王朝灭亡和中华民国建立仅短短几年时间。抗日战争爆发时，三人都是十几岁到二十几岁。他们年龄相仿，有着相同的历史、文化氛围，但由于身在不同的地方，以不同的身份参加战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:09, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''作家角色的变化改变了散文的面貌'''&lt;br /&gt;
&lt;br /&gt;
我在此探讨的三位作家都出生于1913至1919年之间，是清王朝覆灭和中华民国建立后的短短几年。抗日战争爆发时，三人都是十几岁到二十出头。他们年龄相仿，处于相同的历史和文化氛围下，但由于身在不同的地方，以不同的方式参与战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:55, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
Yang Shuo[	1913-1968, orig. Yang Shujin(?), of Penglai County in Shandong.] is probably the most ”standard” of the three from the point of view of the Communist Party in that he went to Yan’an early (winter 1937) and worked under the direction of the party’s cultural apparatus for the duration of the war there, in the northwest, and in Guangzhou.  Like the reportage writer Huang Gang, he was of the right age for this Yan’an-based period to be his principal formative and educational experience, deeply conditioning his approach and attitude toward writing in the 1950s and 1960s.  That being said, Yang Shuo was more concerned with issues of literary quality and symbolic meaning than others writing under the direction of the CP, and this concern colored even his most famous works with puzzling tones of ambivalence and reservation.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
Liu Baiyu[	1916-?, orig. Liu Yuzan, of Beijing. See Niu Yunqing, Liu Baiyu pingzhuan (Chongqing:  Chongqing chubanshe, 1995).] arrived in Yan’an relatively early too, and was quickly immersed in its literary activism.  Only weeks after his arrival, and though Liu was only 22 at the time, Mao Zedong personally assigned him to lead a five-person escort for the American marine observer Evans Carson to visit the guerilla areas in Northern China (one of a variety of types of ”cultural worker” assignments in the communist base areas).  Despite this promising start and occasional contact with Mao, Liu published works that incurred the wrath of some critics and officials, became a target in the Yan’an zhengfeng campaign after Mao’s Talks, and underwent a process of mutual and self-criticism at the Central Party School.  &lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
Though the result of this painful process was apparently ”successful” (Liu went on to hold important cultural administrative positions in the PRC), it also alienated him from certain elements in the literary community and led him to take an aggressively authoritarian role as the Party secretary of the Writers’ Assocation during the Anti-Rightist Campaign in 1957 and 58.  This alienation is occasionally revealed in his sanwen works from that point on.&lt;br /&gt;
&lt;br /&gt;
Qin Mu[	1919-199?, orig. Lin Juefu, b. Singapore, of Chenghai County in Guangdong. See Huang Zhuocai, Weng Guangyu and Ai Zhiping, Qin Mu pingzhuan (Guangzhou: Huacheng chubanshe, 1989).] is one more step removed because he did not share the Yan’an experience with Yang and Liu. Though he was active in the literary resistance during the war against Japan, and though his biographers insist that he originally planned to go to Yan’an as early as 1938, he never went there (Huang, Weng and Ai, 1989, 26-27).  &lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
Because he did belong to the age cohort and had the same basic inclinations, he did come into contact with the same organizations (the Communist Party, Wenxie) that the others did, and indeed could even have met Yang Shuo in Canton when Yang was sent there on assignment in 1938.  He also engaged in similar types of literary intervention, organizing and performing traveling anti-Japanese theater in the countryside, accompanying troops in the field as a writer, and publishing anti-Japanese and anti-KMT/US zawen in Rear or KMT area newspapers.  But his experience during the war was not a community experience:  Qin at first alone and later with his wife underwent the trials and tribulations of a writer at wartime as an individual, making his own decisions and contacting organizations only when the opportunity presented itself and he wished to do so.&lt;br /&gt;
&lt;br /&gt;
因为他确实属于同龄人并且具有相同的基本倾向，他也确实和其他人一样和同一个组织如共产党，文协有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日及反抗国民党或美国的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。&lt;br /&gt;
&lt;br /&gt;
因为他与别人年纪相仿， 基本倾向相同，也都与共产党，文协等组织有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日，反抗国民党或抗美的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:05, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
Thus there is an especially independent streak about him that made relations between him and the Writer’s Association after 1949 somewhat strained.  He was attacked in the 1957 zhengfeng movement, and it was not until 1962 that he joined the Communist Party.&lt;br /&gt;
&lt;br /&gt;
Thus each of these writers exhibited different tensions as they approached writing after 1949, and particularly during and after the Hundred Flowers Campaign.  All of them, however, adopted sanwen as a vehicle to express themselves, and while these essays at time seem on the surface to be pat or fulsome propaganda, they continue to be colored by these at times very personal tensions that often make the essays more compelling reading in spite of themselves.&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
'''Procedures and interests of socialist essays'''&lt;br /&gt;
&lt;br /&gt;
The sanwen of the late 1950s and early 1960s, because of a variety of different such personal and larger cultural tensions, manifest various kinds of ”incongruous lyricism.”  All three of these writers had their essays included in textbooks for junior high school and high school during the 1960s and 70s.  But these canonic texts represented only the completion of a gradual process of adjustment and must be viewed alongside earlier, less well-known efforts by these authors as well as their works in other genres, particularly fiction.&lt;br /&gt;
&lt;br /&gt;
社会散文的发展阶段和关注点&lt;br /&gt;
&lt;br /&gt;
由于不同的个人冲突和更严重的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样“不和谐的抒情性”。这三位作家的散文均已收录进20世纪六七十年代的中学教材中。这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来看待那些经典文本。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:41, 9 December 2020 (UTC)&lt;br /&gt;
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由于各种各样的个人冲突乃至文化冲突，20世纪50年代末至60年代初的散文呈现出多样的“不和谐的抒情性”。在20世纪六七十年代的中学和高中教材中，这三位作家的散文均编撰进了课本。然而这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来分析那些经典文本。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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社会散文的发展和关注点&lt;br /&gt;
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由于各种个人冲突和愈发剧烈的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样的“不和谐的抒情性”。20世纪六七十年代，这三位作家的三位都被收录进中学教材中。而这些经典文本仅代表调整工作的逐步完成，要正确的看待这些经典文本，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:42, 10 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
'''Friction with leftist aesthetics'''&lt;br /&gt;
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In the late 1950s and early 1960s the term sanwen was more frequently associated with ”lyricism” (shuqing) and opposed to ”expository” (shuoli) prose essays.  In practice, this is indicated by long descriptive passages, the frequent use of direct address to the reader in the second person as well as rhetorically loaded interrogative, imperative and expressive particles.  At particularly rhapsodic moments, socialist sanwen  texts take on a fu-like rhetoric, syntactic parallelism and a piling up of listed concrete objects and rich varieties of adverbs and adjectives.  One is attempted to associate this attempt at of verbal profusion with certain Republican period stylists like Zhu Ziqing and Yu Pingbo, but the socialist version is much more extravagant both in verbiage and emotional exhibitionism. &lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
On the level of imagery, a general fascination with images of light, fire and torches left over from the war period[	Particularly evident in Liu Baiyu’s reportage works from the late 1940s.] remains but in part gives way to a new interest in flower imagery in the 1950s.[	Qin Mu’s essays and some of Yang Shuo’s are filled with varieties of flowers and plants, enjoyed in themselves and as symbols of other things. ]  Finally a strategy common to all three writers is to conceive of a vista or an experience as a living landscape painting, emphasizing a magnitude of vision and the accompanying emotional exhilaration.  In some cases, these highly visual essays are accompanied with illustrations uncannily consistent with the texts’ visualization of the landscape. &lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
'''Yang Shuo'''&lt;br /&gt;
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Yang Shuo’s 1959 essay ”The Highest Peak of Taishan”[	Taishan jiding, wr. 1959, from Haishi.  Yang, 125-129.] features this kind of overt reference to landscape painting.  The text simply narrates the author’s ascent of the famous Shandong mountain, but the narrative structure of the climb is interwoven with a figurative structure consisting of three elements.   The first is the traditional landscape painting motif:  ”All the way from the foothills, looking closely at the mountain landscape, I felt like what was before me was not the lord of the Five Famous Mountains, but more like a green and blue landscape painting of astounding size,” (Yang, 125) an idea he develops as a conceit with figurative descriptive language.  Second, Yang writes ”after a while, I began to feel that I was not only looking at a landscape painting, but randomly flipping through a historical manuscript.”  (Yang, 126)&lt;br /&gt;
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'''杨朔'''&lt;br /&gt;
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杨朔于1959年创作的散文《泰山极顶》[《泰山极顶》创作于1959年，选自《海市》。 杨，125-129。]就是这种对山水画的公开引用。 文字只是讲述了作者在著名的山东山峰上的登顶，但攀登的叙事结构与由三个要素组成的形象结构交织在一起。 第一个是传统的山水画主题：“一路上从山脚往上爬，细看山景，我觉得挂在眼前的不是五岳独尊的泰山，却像一幅规模惊人的青绿山水画。”（Yang，125）。他将这种想法发展为一种比喻性的描述性语言。然后杨写道：“一时间，我又觉得自己不仅是在看画卷，却又象是在零零乱乱翻着一卷历史稿本。” （杨，126）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:29, 13 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
This in reference to the calligraphy of famous visitors to the mountain carved into its sides and the legends and stories about them.  The third and last layer of figuration is the sense that the author is not climbing a mountain, but climbing into the sky.&lt;br /&gt;
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The touristy desire to see the sunrise from Taishan’s peak introduced at the essay’s outset and which teases the reader occasionally throughout the text is deftly frustrated in the rhetorical pursuit of what to the author is a higher aim:  the recontainment of a Taishan travelogue into the extolling of the historical achievements of socialism.  Once he has passed through the Southern Gate of Heaven, the author sees the Shandong landscape spread out at his feet, but what he notices are the grand commune wheat fields (amber waves of grain) as opposed to patchwork agricultural quilt of yore, and smoky plumes in the distance are not scattered homes but factories.&lt;br /&gt;
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这指的是著名游客在山上刻的书法以及他们的传说和故事。该比喻的第三层，也是最后一层指的意象不是作者在爬山，而是在攀向天空。 &lt;br /&gt;
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文章一开始就介绍了游客想从泰山山顶看日出的期望，这种期望偶尔会在整篇文章中戏弄读者，但在追求对作者来说是更高的目标的过程中，这种期望被巧妙地挫败了，即将泰山游记重新纳入那些值得赞美的社会主义历史成就中。一旦穿过南天门，作者就能看到在他脚下绵延的山东风景，但他注意到的不是往昔像被子一样拼凑的田块，而是壮观的公社麦田(琥珀色的谷浪)，远处像羽毛般的迷雾也不是分散的家庭，而是工厂。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:37, 10 December 2020 (UTC)&lt;br /&gt;
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山的两侧雕刻了著名游客的书法，这里参考了他们的书法，以及他们的传奇故事。第三层比喻，也是最后一层比喻，意不在于作者爬山，而是在于攀登高空。&lt;br /&gt;
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文章一开始就介绍：游客想从泰山顶观赏日出，然而在整篇文章中，作者为了追求更高目标：将泰山游记重塑为对社会主义历史成就的颂扬，灵活使用修辞，有时会逗弄读者，让读者受挫。游客一旦穿过南天门，作者就能看到整个山东省的美景在他脚下，但是作者却把注意力放在宽阔的公社麦田（琥珀色的麦浪），麦田对面是一块块农田，还有从远处飘散的羽毛似的迷雾，这迷雾不是从飘出来的，而是从工厂里出来的。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:11, 11 December 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
Though the weather had been clear at night near the peak when the party went to bed early in order to get up in time for the sunrise, fog and rain overnight linger to create an overcast sky at dawn.   But author’s socialist/communist landscape epiphany of the previous evening eclipses the banal tourist wish for a beautiful sunrise – he has seen ”another kind of” (metaphysical) sunrise, that of the Chinese people/nation on the horizon.&lt;br /&gt;
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In his essay about Kunming’s camellias,[	”Chahua fu” (Ode to the Camellia) written 1961, from Dongfeng di yi zhi.  Yang 134-37.] Yang Shuo opens with a discussion with an artist friend about what kind of painting would show the face of the ”motherland” (zuguo).  He then turns to his trip to Kunming after returning from travels abroad.  &lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
Especially as a ”northerner” he is struck by the beauty of the red camellia flowers around the city and in Huating Temple, where he is escorted by Jin Zhiwen, the landscaper.  His attention is drawn to one variety called ”Child’s Face” tongmian.  As is almost invariably the case in Yang Shuo essays, the subject he has chosen becomes an opportunity for the author to contemplate the symbolic resonances of its characteristics – in this case the camellia’s sensitivity to proper care, environment and natural enemies, but also the fact that great trees centuries old have been carefully cultivated with hundreds and even thousands of blossoms.  A detailed description of the gardener himself provides the author with the key to the signified:&lt;br /&gt;
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特别是作为一个北方人，他完全被这座城市周围，以及华亭寺内美丽的山茶花迷住了，在那里，景观设计师金志文护送着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。对园丁本人详尽描述也是作者了解其重要意义的关键。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:48, 11 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
I fervently gazed at his hands, hands covered with mud-stained calluses.  Then I looked at his face, the wrinkles at the corners of his eyes were cut deep, and it was not necessary to ask about his background:  I could guess that he was a middle aged man who had been through a lot.  If he waled away from you and into the crowd, he would vanish immediately and it would be very hard to find him again – he was just that kind of very ordinary laborer.  But it is just this kind of person, month after month, year after year, exerting mind and body, cultivating flowers and plants with all his effort, beautifying our lives.  This is how beauty is created. (Yang, 136)&lt;br /&gt;
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我热切地注视着他的双手，那双手满是带泥的茧子。然后我看了看他的脸，他眼角的皱纹已经很深了。我没有必要再追问他的背景，因为我可以猜出他是一个饱受风霜的中年男人。如果他现在转身离开钻进人群里，他会很快消失在人海中，要再找到他就很难了——他就是这样一个十分普通的劳动者。但是正是这样普通的劳动者日复一日，年复一年的辛勤劳作，用身心浇灌花朵和树木，美化我们的生活。美就是这样被创造出来的。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:02, 11 December 2020 (UTC)&lt;br /&gt;
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我热切地注视着他的手，那双手布满了沾满泥土的老茧。 然后我看了看他的脸，他眼角的皱纹很深。不用问他的背景， 我可以猜到他是一个饱经沧桑的中年男人。 如果他从你身边晃晃悠悠地走到人群中，他就会立刻消失在人海中，再想找到他就很难了--他就是那种很普通的劳动者。 但就是这样一个人，月复一月，年复一年，耗费着身心，用他的全部心血培育着花草，美化着我们的生活。 美就是这样被创造出来的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:59, 13 December 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
When author observes a group of schoolchildren who have come to see the camellias, the bond is cemented and the ”paint the face of the nation” riddle is solved – paint the Child Face Camelia.&lt;br /&gt;
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What is incongruous in Yang Shuo’s lyricism, in many other examples in addition to these, is that no matter how transparent the symbolism and fervent the message of his essay, there is almost always slight ambivalence introduced by negative elements at the fringes:  why does the glorification of socialist progress in ”Taishan’s Highest Peak” have to come at the expense of the famous sunrise?  What has Jin Zhiren ”been through” that has deepened his wrinkles, and why should that pain be related to the creation of beauty?&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
'''Liu Baiyu'''&lt;br /&gt;
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Liu Baiyu’s transition toward sanwen in the PRC came from the direction of reportage literature.  Liu had established some reputation as a novelist on the literary scene through key connections he had made with Ba Jin, Zhang Tianyi, Ye Yiqun and other major figures in the 1930s.  But by 1949 it was his reportage collections, including Around the Northeast, The Light Shines Down on Shenyang, Cutting across the Central Plains, and The Torches Glow Red in the Yangtse River that were some of the best known works by a communist writer during the civil war in the late 1940s. &lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
The late 1950s text ”Lamplight” revisits the experience of the battlefield in a much more peaceful China.  ”Lamplight” has a forceful, shrill rhetoric in its development of the image of glowing light through a number of different contexts, from war to socialist economic construction without losing the sense of militant struggle that informed the image of light for Liu from the beginning. [	”Denghuo” (Lamplight), Liu Baiyu, Hong manao ji (Red agate) (Beijing:  Wenhua yishu chubanshe, 1983) 5-11. ]  Evidently Liu, though he holds influential positions in the literary establishment of the time, feels alienated by certain elements on the literary scene, particularly in regard to the stigmatization of the experience of the battlefield:&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
. . . nowadays some people treat the subject of war, regardless of right or wrong, regardless of green red black or white always make it look bloody, dark and horrible!  They call this ”through the soldier’s eyes,” ”foxhole realism”  Hai!  This makes those of us who have strapped puttees on our calves and have had the smell of gunpowder about the shoulders want to laugh our heads off.  What can you do?  There are brave soldiers who fight for what’s right; there are counter-revolutionary murderers; and there are cowardly traitors.  Since there are different kinds of soldiers, there have to be different soldier points of view, and there must be different kinds of ”foxhole reality.”  Perhaps there are those who would criticize me:  how did I get from lamplight to this argument about war, aren’t I getting way off track?  Actually, no.  The lamplight I am talking about may be a small matter, but it really is a reality of life at war.  Getting back to the subject, on the chill wilderness of the Songhua river, trudging through winter snows, wading through summer rapids, from lamplight I was able to understand a certain kind of warmth. (Liu, 7-8)&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
&amp;quot;The Brilliance of Spring,&amp;quot;[”Qingchun de shanguang,” written 1959, in Hong manao ji, 23-33.] a lengthy, fu-like essay extolling ten years of socialism in China, manifests many of the distinguishing characteristics of Liu’s post-1949 sanwen.  Though written in the wake of the Anti-Rightist Campaign, it casts no shadow on the essay and though there is flower imagery, significantly, it does not emphasize diversity (as in ”hundred flowers”).  At about 6,000 characters, it is also much longer than most of Yang Shuo’s essays, which are usually about half that long, particularly those most revered and anthologized.  ”The Brilliance of Spring” does not start out with a clearly-defined topic; the occasion or motivation of its composition did not become obvious to me until near the end.&lt;br /&gt;
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&amp;quot;春光灿烂&amp;quot;（又名《青春的闪光》，写于1959年，载自《红玛瑙集》，23-33页。）这是一篇颂扬中国十年来社会主义发展的长篇巨作，表现了1949年后其散文的显著特点。即使写于反右运动之后，但其并未受其影响，虽然辞藻华丽，但并未没有强调多样性（如 &amp;quot;百花齐放&amp;quot;）。文章字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在3000字左右，尤其是那些最受推崇的散文和文集。 &amp;quot;春光灿烂 &amp;quot;一开始并没有明确的主题，制造结尾我才明白它的创作场合和动机。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:01, 9 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;春天的辉煌&amp;quot;，[《庆春德山岗》，写于1959年，载《红玛瑙集》，23-33页。]这是一篇颂扬中国社会主义十年的长篇文章，表现了刘勰1949年后散文的许多显著特点。 虽然写于反右运动之后，但没有给文章蒙上阴影，虽然有花的意象，但显著的是，它没有强调多样性（如 &amp;quot;百花&amp;quot;）。 它的字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在一半左右，尤其是那些最受推崇的散文和文集。 &amp;quot;春光灿烂 &amp;quot;一开始并没有明确的主题，它的创作场合或动机直到接近尾声时我才明白。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:23, 9 December 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
The visualization with which the text begins juxtaposes a dawn construction scene complete with a handsome, rugged construction worker in Tian’anmen square with author’s memories of other occasions when he was ”right here, in this spot!” including most significantly, a vision of a Japanese tank rolling up from Qianmen, its treads gouging scars in the ground.  Liu also includes memories of the entry of the People’s Liberation Army into Beijing, and the ceremony at which Mao Zedong officially established the People’s Republic, but the author moves from one impression-layer to the next vaguely and ambiguously, punctuated with the refrain ”Here! It was right here!”&lt;br /&gt;
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这篇文章以视觉化形式开始，黎明时分，建筑工地上有一个帅气但是衣服破烂的建筑工人在天安门，伴随着作者其他场景的记忆，当他就在“那里，那个位置！”其中就一个很重要的回忆是，一个日本坦克从乾门进入，经过断层泥的地板。刘白羽还有些记忆是关于人民解放军回北京，和毛泽东宣布中国人民共和国成立大典的开幕式，但是作者仅是从一个印象层模糊的转到下一个，吃力的说：“那儿，就在那。”--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:18, 11 December 2020 (UTC)&lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
Liu makes a conspicuous gesture away from the scene of Tian’anmen to other significant spaces including oilfields in the Western deserts, a poignant scene of a mother sending her son off to the Korean war, Anshan the ”city of steel,” a humble Party meeting among lumberjacks taking place in a shack deep in the forest far from Beijing, and other sites of significant material and spiritual progress in the PRC.  As the essay progresses, a new motif is picked up from the contemporary Tian’anmen scene and repeated with increasing frequency:  the ”radiant red face and brilliant eyes” of the young socialist citizens whose verbal pictures Liu paints.  There is much hyperbole and the extraordinary breadth of subject matter, convering ten years of socialist achievement packaged in spatial-visual tableaux, like a memorial display case or monument, which was the usual strategy of essays and reportage about the Korean War.&lt;br /&gt;
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刘白羽很明显地从天安门这一场景转向其他的景色描写，包括西部沙漠的油田，一个母亲送别儿子去参加朝鲜战争的辛酸场景，“钢都”鞍山，远离北京的深山密林中召开的一次党员会议以及其他的中国的重要的物质遗迹以及以及精神进步。随着文章的不断推进，一个新的主题从当代天安门的场景中产生，并以越来越高的频率重复着。在刘白羽的描述中，年轻的社会主义公民“红光满面，双眼炯炯有神”的口头画面。夸张的成分越多，题材的广度就非同一般，将十年的社会主义成就用空间和视觉的表象来包装起来，就像纪念展柜或纪念碑一样，这是有关朝鲜战争的文章和报道的惯用策略。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 10:52, 11 December 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
Despite the desire to come into close contact with the masses through genuine experiences, it was more common for writers to come into contact with workers, peasants and soldiers through the organizational activities and connections of the Communist Party.  In Liu Baiyu’s essays from the 1950s and 60s, you can feel the author incongruously straining to make the most of his experience (straining to maximize its feeling of authenticity) and the characters he describes.[	”Xie zai taiyang chu sheng de shihou” (Written as the Sun Begins to Rise), Hong manao ji 34-52 [written 1959?]. ]  On the level of subject matter, since the (model) workers etc. he writes about are models and leaders, already part of the (embodiments of the) local Communist Party administrative apparatus, they too are straining to give the correct impression, put the right spin on their experiences and ideas, to behave in the way expected of them.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
'''Qin Mu'''&lt;br /&gt;
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Qin Mu’s case might be distinguishable from the others by virtue of the fact that he established himself as a satirical (zawen) columnist during the civil war, and of course satire in general had to go after 1949.[	Interestingly, Qin Mu continued to write zawen in the 1950s and beyond, publishing a very popular collection in 1960 entitled Yihai shibei (Gathering Shells by the Sea of Art).  By then Qin’s zawen were not combative, but expository in nature, reflections on principles of artistic creation, so in a way Qin had redefined the zawen genre for himself.  The sanwen collection Hua cheng was published at roughly the same time as Yihai shibei and was distinguished by the author himself as ”more lyrical” than the ”expository” pieces in Yihai shibei.  Comparing the essays therein with those of Hua cheng, one is struck by formal differences (the Yihai shibei pieces are much shorter than those in Hua cheng) and by the almost complete lack of figurative or descriptive language in Yihai shibei.  However difficult it might be for us to define the differences between zawen and sanwen now, it seems clear that Qin Mu had a clear idea in his own literary practice.]  Fortunately he had been accustomed to making fun of Americans and the Guomindang which continued to be safe and politically correct targets in the 1950s, but he had to find positive things to write about as well, and considering his background and the ambiguity of his relationship with the Communist Party, this must have been a difficult transition for him, more difficult than it was for those who were already linked up with the party for years in Yan’an and other base areas.&lt;br /&gt;
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秦牧的情况可能与其他人有所区别，因为他在内战期间确立了自己的讽刺专栏作家的地位，当然讽刺一般都要在1949年以后才开始。[有趣的是，秦牧在1950年代及以后继续写杂文，1960年出版了一本很受欢迎的诗集，名为《逸海市北》（艺术之海收集贝壳）。此时的秦杂文不是好斗的，而是本质上的说明文，是对艺术创作原则的反思，在某种程度上，秦对杂文体裁进行了重新定义。三文集《华城》与《逸海市北》大致同一时间出版，作者认为《华城集》比《逸海市北》中的“说明文”作品“更抒情”。与《华城》的散文相比，形式上的差异（亦海市北比《华城》短得多）以及《沂海市北》几乎完全没有比喻或描写的语言。不管现在如何界定扎文和三文之间的区别有多困难，秦穆在自己的文学实践中似乎有一个清晰的想法。]幸运的是，他习惯于取笑美国人和20世纪50年代仍然是安全和政治正确目标的国民党，但他必须找到积极的一面写的东西也要写，考虑到他的背景并且与共产党交好，这对他来说一定是一个艰难的过渡，比那些在延安等根据地已经与党联系多年的人来说，难度更大。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:46, 13 December 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
In his 1960 essay ”Earth,” (Tudi), Qin Mu makes a figurative connection between earth how handfuls of earth can serve as symbols of wealth, power, sovereignty, political positions.  Part of the visualization involves (like Liu Baiyu) aerial views.  As war with its arial reconnaisance and bombing transformed the concept of China’s space into a contiguous whole rather than a network of locales, the wider availability of air travel in the 1950s added a visual dimension to this contiguity that reinforces the connection between earth, China’s physical expance, the map of China, and the concept of nation:&lt;br /&gt;
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秦牧在他1960年发表的论文《地球》（土地）中，将地球上的少数几个人如何象征着财富，权力，主权，政治地位作为形象的联系。 可视化的一部分涉及（如刘白玉）鸟瞰图。 随着战争的轰炸和轰炸将中国空间的概念转变为一个连续的整体，而不是一个地点网络，1950年代更广泛的航空旅行为这种连续性增加了视觉上的意义，从而加强了地球与中国物质扩张、中国地图和国家概念之间的联系 。&lt;br /&gt;
--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:57, 9 December 2020 (UTC)&lt;br /&gt;
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在他1960年的文章《土地》中，秦牧把土地比喻成财富、权力、主权和政治地位的象征。部分可视化包括(如刘白玉)空中视图。随着战争的勘察和轰炸，中国的太空的概念转变成一个连续的整体,而不是一个地区的网络,航空旅行的更广泛的可用性在1950年代增加了一个视觉维度，强化了地球之间的联系,中国物质扩张,中国的地图,和国家的概念:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:11, 9 December 2020 (UTC)&lt;br /&gt;
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秦牧在1960年的文章《地球》（Tudi）中，将地球如何撮合成财富、权力、主权、政治立场的象征做了形象化的联系。 部分视觉化涉及（像刘白羽一样）鸟瞰图。 由于战争的侦察和轰炸将中国的空间概念转化为一个连续的整体，而不是一个地点网络，20世纪50年代更广泛的航空旅行为这种连续性增加了一个视觉维度，加强了地球、中国的物理扩张、中国地图和国家概念之间的联系。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:47, 9 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
Once I gazed out an airplane window straight down upon the Pearl River delta; the heavens were crystal clear and I looked down and couldn’t help but cheer out loud because the Pearl River delta looked so magnificent that words couldn’t even describe it.  The network of rivers and lakes shimmered in the sunlight while the earth looked like a piece of dark green velvet.  The roads seemed as straight as if they had been sliced with a knife while the fields looked as neat as a chessboard.  Wow!  A hundred thousand years ago people looked to the skies for gods and miracles, but today the real miracle is taking place on the earth below.[	Qin Mu, Hua cheng (Guangzhou:  Zuojia chubanshe, 1961) 17-18.]&lt;br /&gt;
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一次，透过飞机窗外，我凝视着珠江三角洲：天空清澈见底，我低头一看，不禁大声欢呼起来，因为珠江三角洲看起来壮观无比，简直无可言喻。河流和湖泊交织着在阳光下闪烁，而大地看起来像一块深绿色的天鹅绒。道路看起来笔直的像是用刀子划的一样，而田野看起来像棋盘一样整齐。哇！十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹发生在地下。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:51, 11 December 2020 (UTC)&lt;br /&gt;
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有一次，我透过飞机的窗户凝视着珠江三角洲;天上一片清澈，我低头一看，不禁欢呼起来，因为珠江三角洲是如此的壮丽，无法用语言来形容。河流和湖泊交织在阳光下闪闪发光，而大地看起来就像一块深绿色的天鹅绒。道路笔直得好似用刀划过一样，田野整齐得像棋盘一样。哇!十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹就发生在这片土地下。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:45, 12 December 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
Many of Qin Mu’s essays in the collection Hua cheng (City of Flowers) imaginatively recreate an (occasionally ancient) historical scene, in a specific place the essay focuses on that the author is observing today (or at least gives that  impression) like Liu Baiyu’s ”right here on this spot” refrain.  In his 1956 essay ”Lyric on the Altar of the God of Grain,” the earthen, square altar referred to in the title is in Zhongshan park in Beijing, and was where aristocrats were traditionally enfoeffed by the emperor.[	Qin, 21-31.]  In many ways, this is a continuation of the previous essay (”Earth”), extending reflections on the material symbolism of earth and the glorious wisdom of the ancients.&lt;br /&gt;
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在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再现了一个历史场景（有时是古代的），即作者如今仍能观察到的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，是传统上皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是对前一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:22, 10 December 2020 (UTC)&lt;br /&gt;
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在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再创造一个历史场景（有时是古代的），即作者如今正在观察的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，在古代是皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是上一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:42, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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This essay distinguishes itself by its relentless return to the altar itself, its self-conscious admiration of the brilliance of the ancients (with overtones of ethnic and cultural pride and reconciliation with the premodern culture of China) as well as a shrilly specific emphasis on unity as territorial sovereignty (”Once we liberate Taiwan and a few coastal islands, [our territorial] unity’s scope will be even more unprecedented.” 30)&lt;br /&gt;
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Qin Mu is at his most characteristic, though, in writing educational essays (zhishi xiaopin).  Also known as scientific xiaopin, the character of such writings would seem to be defined by their subject matter. [	Another writer of the post-Hundred Flowers period that writes a lot in this vein is Ma Nancun (Deng Tuo), whose popular Yanshan yehua column in Beijing Wanbao lasted for years and was published in four volumes in book form.]  But I would like to suggest that the transmission of modern scientific knowledge in these texts is not an end in itself, but rather one answer to the question of ”what to write about?” in socialist sanwen.  And it conveys (in addition to the knowledge or information), a certain scientistic, post-industrial atmosphere of enthusiasm that is a style as much as content.&lt;br /&gt;
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这篇文章的与众不同之处在于，它不遗余力地回到祭坛本身，自觉地仰慕古人的辉煌(带有民族和文化自豪感以及与中国前现代文化结合的色彩)，且明确强调领土的主权统一。(&amp;quot;一旦我们解放台湾和几个沿海岛屿，[我们的领土]统一的范围将更加空前绝后&amp;quot;。30)&lt;br /&gt;
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秦牧最有特色的是教育随笔（知识小品），也被称为科学随笔，这种随笔的特点由其主题决定。[ 百花齐放·百家争鸣期后，另一位在这方面写作较多的作家是马南邨(邓拓)，他在北京晚报上的《燕山夜话》专栏持续多年撰写文章，并出版了四卷书。] 但我想说的是，在这些文字中传递现代科学知识本身并不是目的，而是对社会散文中 &amp;quot;写什么？&amp;quot;这个问题的一个回答。而且它传达的（除了知识或信息外）是某种科学的、后工业化的热情环境，它展示风格的同时，也表达了内容。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
Qin Mu’s ”Xing xia” (Under the Stars, 1958)[	Qin, 49-60.] begins as a sweeping exploration of stars, moving from the universal experience of gazing at the skies and wondering about the questions of existence to the cultural perspectives of the beliefs and lore of the ancients and finally to the scientific perspective of the astronomical knowledge gathered in recent centuries, decades and years that confirm the author’s faith in science and industrial modernity.  The scientific knowledge in fact becomes a context or background against which to look back with some disdain at the superstitious quality of premodern beliefs, not only about the structure of the cosmos, but the extensions of such speculation into areas of human destiny and supernatural beliefs.&lt;br /&gt;
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秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式开始，从凝视天空、疑惑存在问题的普遍经验，到古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:33, 10 December 2020 (UTC)&lt;br /&gt;
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秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式作为开端，然后写到凝视天空、疑惑存在问题的普遍经验，又至古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Reading this essay one can see that one of the keys to Qin Mu’s popularity lay not in his conspicuously Marxist-Leninist politics, but in his sweeping, timeless, universal and seemingly all-inclusive scope of vision and contemplation.  Many or most of his essays give an exhilarating sense of vastness.&lt;br /&gt;
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But this essay does not reach its completion without being recontained, as are Yang Shuo’s landscape meditations, in a political context.  Written in the early years of Soviet space exploration, it seems obvious to Qin Mu that Soviet success in this area and the US’s failure is a clear sign of the direction of history.  He argues with almost excessive rhetorical force that the failure of space exploration and science in general under capitalism signifies the inability of the capitalist world view to free itself from outmoded beliefs, while socialism is easily and innocently aligned with scientific achievement and progress.&lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
Qin Mu’s often shrill diatribes on historical materialism and Marxism-Leninism in educational essays (zhishi xiaopin) like this one, or about the history of overseas Chinese or the cosmic theories of warring states philosophers is an incongruous, inverted reflection of Qin’s perennial status as an outsider to the PRC socialist literary orthodoxy, being victimized by literary officials like Liu Baiyu in the anti-rightist campaign and only being admitted to the Communist Party in 1962.  It is in his attempts to contain an ambitious gaze that can encompass human and natural history and the furthest reaches of space in a historicized polemic about the supremacy of Marxism-Leninism in the post war years that the incongruity of Qin Mu’s lyricism manifests itself.&lt;br /&gt;
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秦牧经常在教育论文中这样尖锐地抨击历史唯物主义和马列主义(知识小品文)，或海外华人史或战国哲学家的宇宙理论，认为这是一个不协调的，颠倒的反映。秦牧作为中国社会主义中正统的局外人，在反右运动中遭到刘白宇这样的文学官员迫害，直到1962年才被共产党接纳。他试图以一个包罗万象的视角，用抒情的方式表达对战后马克思主义主导地位的辩驳。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:59, 13 December 2020 (UTC)&lt;br /&gt;
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秦牧在这样的教育论文（知识小品）中，经常尖锐地抨击历史唯物主义和马列主义，或是关于华侨历史或战国哲人的宇宙理论，认为这些是不协调的。秦牧作为中国社会主义文学正统派的局外人，在反右运动中受到刘白羽等文学官员的迫害，直到1962年才被共产党接纳。正是在他试图在一场关于战后马列主义至高无上的历史化论战中，包含一种能够涵盖人类历史和自然历史以及最遥远的空间的雄心勃勃的目光，秦牧抒情诗的不协调性才得以体现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 13 December 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
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The question of whether the ”real” world corresponds to the world these authors describe and narrate is moot; through the act of seeing or imagining the world as they do, they helped create the socialist world.  These authors did not slavishly obey orders, writing from formulae they were provided by superiors and other writers; they willingly engaged in the procedures of research and composition that were part and parcel of communist education and literary practice; what they wrote followed from their training, it was the logical and organic extension of that training.  They helped write the socialist world into existence.&lt;br /&gt;
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'''结论'''&lt;br /&gt;
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&amp;quot;真实&amp;quot;世界是否与作者们描述和叙述的世界相符，这个问题是无意义的；通过观察或者想象这个世界，他们帮助创造了社会主义世界。这些作者不盲目地服从命令，按照上级和其他的作者提供的公式写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。作者们所写的是训练之后的结果，是训练的逻辑和有机的延伸。他们帮助建立了社会主义世界。&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
Slavoj Zizek’s interpretation of Pascal that belief can actually emerge from deliberately going through the motions of ritual and imitating the faithful, and Zizek’s further point that ”reality” in any society is produced by ideological fantasies peculiar to it, suggest a similar interpretation of socialist sanwen.[	Slavoj Zizek, The Sublime Object  of Ideology (London:  Verso, 1989) 38-43.]  Going through the ritual motions of faith, the individual already believes without realizing it, he argues, and then it is only a matter of time before that belief gradually takes control of the conscious mind.  But within that ideological fantasy that is the representation of social reality, there are at the fringes and in the shadows suggestions of the impossibility of the vision.  What I have referred to as the ”incongruous” in Yang Shuo, Liu Baiyu and Qin Mu are those almost unconscious suggestions tainting the pristine vision.&lt;br /&gt;
==Kong Yanan 孔亚楠==&lt;br /&gt;
Reading literature from the first seventeen years of the People’s Republic of China requires as much attention to practices within the socialist orthodoxy as to dissidents and victims.  Against the prevalent view that socialist literary culture in China was a self-contained system introduced from the Soviet Union as if into a vacuum, socialist sanwen speaks to the mutability of that literary culture and the voice of individual writers in its development, however much sanwen may have been used for propaganda and indoctrination, it retained an ambiguity and reserve inherent in the genre since before the War gainst Japan.  Above all, I think this speaks to the enormous importance of various forms of sanwen in modern Chinese literary culture in general, and any general apprach to the modernn Chinese essay must further explore the legacy of socialist sanwen, particularly as today’s sanwen writers for the most part read the works of Yang Shuo, Liu Baiyu and Qin Mu in their middle school textbooks.&lt;br /&gt;
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中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是中国的社会主义文学是从苏联引进的一个真空的封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:59, 12 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
'''Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place ''' [	This article is an extended version of the paper “The Self in the Landscape: Chinese Essays of Place in the Republican Era (1912-1949)” delivered at the conference The Modern Chinese Literary Essay: Defining the Self in the 20th Century, held in Achern, Germany, August 25-27, 2000.]&lt;br /&gt;
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''Alexandra R. Wagner''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
Zhu Ziqing’s “The Qinhuai River Amidst the Sound of Oars and Shadows of Lamps” (Jiangsheng dengyingli de qinhuaihe, 1923), Yu Dafu’s “Spring Day on Diaotai” (Diaotai de chunzhou, 1932), and Fang Lingru’s “Travel Notes from the Langya Mountain” (Langyashan youji, 1936) are three modern Chinese essays in which place and memory serve as the main textual and conceptual elements through which the writers’ negotiation of identity and search for meaning unfolds. Examining these “essays of place” with a focus on the dynamics between place, on the one hand, and personal as well as cultural memory, on the other, challenges the prevailing views of modern travel or landscape essays as either lyrical evocations of scenery, backdrops for personal experiences and thoughts, or sources for information on locations.&lt;br /&gt;
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““作为建构的传统和对现代身份的寻求：对中国现代地方杂文中传统姿态的解读”” [本文是民国时期（1912-1949）中国地方散文《风景中的自我》的扩展版。在2000年8月25日至27日于德国阿彻恩举行的“中国现代文学论文：定义20世纪的自我”会议上发表。亚历山大·瓦格纳（Alexandra R.Wagner）&lt;br /&gt;
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'''摘要''' 朱自清的“桨声与灯影中的秦淮河”（桨声与灯影里的的秦淮河，1923年），郁达夫的“钓台春日”（钓台的春昼，1932），以及方令儒的“琅琊山” （琅琊山游记，1936年）是三篇中国现代散文，其中，地点和记忆是主要的文本和概念元素，通过这些文本和概念，作者进行了身份认同和对意义的寻求。审视这些“地方散文”，一方面侧重于地点与个人记忆以及文化记忆之间的动态关系，另一方面，挑战现代游记或风景散文的主流观点，认为它们要么是对风景的抒情，要么是个人经验和思想的背景，要么是地点信息的来源。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:13, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
The aggregation of cultural and personal memory in these essays foregrounds the skepticism and uncertainty that characterize the mindset of Chinese writers situated in a transitional period moving from tradition to modernity. By questioning apparent meaning and literary convention, the essays are ultimately texts on writing as a continuous and open-ended exploration. &lt;br /&gt;
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Examining the “traditional gestures” central to the essays by Zhu, Yu, and Fang most prominently demonstrates this questioning of apparent meaning. Activities closely tied to places, such as climbing mountains, traversing lakes and rivers, and contemplating past history during visits to ruins and other sites are highly reminiscent of poetic onventions that have informed the long pre-modern literary history of travel and landscape writings.&lt;br /&gt;
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这些文章中文化和个人记忆的聚合，凸显了处于传统向现代过渡时期的中国作家心态的怀疑和不确定性。通过对表面意义和文学传统的质疑，这些文章归根结底是关于写作的文本，是一种持续而开放的探索。&lt;br /&gt;
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审视朱、余、方三家文章中的 &amp;quot;传统姿态&amp;quot;，最突出地体现了这种对表层意义的质疑。与地方密切相关的活动，如爬山、穿越湖泊、河流，以及在参观遗迹等过程中对过去历史的思考等，都让人高度联想到在漫长的前现代文学史上的游记和山水文章的诗学传统。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:41, 9 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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这些文章中文化记忆和个人记忆的聚集，突出了处于从传统向现代过渡时期的中国作家的怀疑和不确定性特征。通过对表面意义和文学传统的质疑，这些文章最终成为关于写作的文本，是一种持续的、开放式的探索。&lt;br /&gt;
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对朱先生、于先生和方先生所著文章的核心“传统手势”的研究，最突出地证明了对表面意义的质疑。与地方紧密相连的活动，如爬山、穿越湖泊和河流，以及在参观遗迹和其他遗址时思考过去的历史，都让人联想到在漫长的前现代文学史的的游记和山水文章的诗学传统。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:19, 9 December 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
As manifestations of cultural memory, such activities are more than simply concrete actions; they are gestures, i.e. “acts made as a sign of attitude.” These traditional gestures suggest an affinity between pre-modern and modern texts, yet at the same time, the essays consistently question the significance and consequence of this apparent affinity. This questioning is achieved, first, by the authors’ encounters with people inhabiting the landscape, second, by introducing elements of imperfection and incompletion throughout the essays, and, third, by the self-referential aspects of the essays.&lt;br /&gt;
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作为文化记忆的表现形式，这些活动不仅仅是具体的行动。它们是手势，也就是“态度表征的行为”。这些传统手势表明了前现代文本和现代文本之间的密切关系，然而，同时这些文章始终对这种明显的亲和力的意义和结果存在质疑。这种质疑的实现，首先是通过作者与居住在这片风景中的人们的相遇；其次，通过在文章中引入不完美和不完善的元素；第三，通过文章的自我参照。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:57, 10 December 2020 (UTC)&lt;br /&gt;
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作为文化记忆的表现形式，这种活动不仅仅是简单的具体行动，而是一种姿态，即 &amp;quot;作为一种态度的标志而做出的行为&amp;quot;。这些传统的姿态暗示了前现代和现代文本之间的密切关系，但与此同时，这些文章一直在质疑这种明显的密切关系的意义和后果。这种质疑的实现，一是通过作者与居住在风景中的人的相遇；二是通过在文章中引入不完美和不完整的元素；三是通过文章的自述来实现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:36, 10 December 2020 (UTC)&lt;br /&gt;
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作为文化记忆的体现，这些活动不仅仅是简单的具体行动； 它们是姿态，即“态度表征的行为”。 这些传统姿态暗示了前现代文本与现代文本之间的亲和力，但与此同时，论文也不断质疑这种明显亲和力的重要性和后果。 首先，作者与居住在风景中的人们相遇，然后是通过在论文中引入不完美和不完整的元素，其次是通过论文的自我参照。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:01, 11 December 2020 (UTC)&lt;br /&gt;
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最为文化记忆的体现形式，这种活动不单单是具体的行动，它们更是一种姿态，也就是“用以表征态度的行为”。这些传统的姿态表明了前现代文本和现代文本之间的密切联系；然而，与此同时，这些文章也在不断地质疑这种表面联系的影响和结果。这种质疑，首先是通过作者与居住在当地的本地人的邂逅；其次是在全文中体现出一些不完美和不完整的因素；最后是通过文章的自我参照这三个步骤来实现的。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
Adopting traditional gestures of contemplating place and past can be seen as an attempt to place the author in a privileged and thus assured position, offering him a way to authoritatively define himself within, yet separate from, his surroundings. However, encounters with people inhabiting the places make the author “interact” with these places. Rather than being objects of perception and contemplation only, places become parts of the perceiving and contemplating subject. The idea of place as distinct from the observer, providing a setting against which he can define himself as well as measure the changing times is deceptive.&lt;br /&gt;
采用传统的姿态来思考地方和过去，可以看作是将作者置于一种特权地位，从而保证他的地位，为其提供了一种根据周围环境给自己定义，但又与之分离的权威方式。然而，与居住在这些地方的人的相遇，使作者与这些地方产生了 &amp;quot;互动&amp;quot;。地方不只是感知和思考的对象，而是成为感知和思考主体的一部分。将地方与观察者区分开来，提供一个环境，让观察者可以据此来定义自己以及衡量时代的变化，这种想法是具有欺骗性的。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:38, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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采用传统的姿态思考地方和过去，可以看作是将作者置于特权以及确定的地位的一种尝试，为其提供一种根据其周围环境，但又脱离其环境然而，给自己定义的权威性的方式。然而，和居住在这些地方的人相遇，使得作者和这些地方有了“互动”。地方除了作为感知和思考的物体，还成为了感知和思考主体的一部分。地点和观察者分离、提供观察者给自己下定义的背景、衡量时代的变化，这些想法都具有欺骗性。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 13:40, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
In addition, elements of imperfection and incompletion disrupt the narrative in these essays and thus similarly question the reliability of traditional gestures in the search for stable definitions of selves. Self-referential aspects of the texts also draw attention to the essays’ constructedness, thus questioning the idea that the texts have a single, accurate (and thus authoritative) interpretation and significance.&lt;br /&gt;
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In sum, an “ironic” reading of the traditional gestures in these essays of place foregrounds the concept of tradition as a vital part and construct needed to engage in a discourse on tradition and modernity from which modern texts ultimately evolve.&lt;br /&gt;
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此外，不完美和不完整的因素扰乱了这些文章的叙述，因此同样质疑传统姿态在寻找稳定的自我定义时的可靠性。文本的自我参照方面也引起了对文章的结构性的关注，从而质疑了文本具有单一、准确（因而具有权威性）的解释和意义的观点。&lt;br /&gt;
总而言之，对这些散文中传统姿态的“讽刺”解读，预示了传统的概念作为现代性话语的一个重要组成部分，现代性最终需要从这一部分演变而来。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 11:57, 11 December 2020 (UTC)&lt;br /&gt;
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此外，不完美和不完整的因素扰乱了这些文章的叙述，从而同样质疑传统姿态在寻求稳定的自我定义方面的可靠性。文本的自我参照性也引起了人们对文章建构性的关注，从而对文本具有单一的、准确的（因为也是权威的）解释和意义的观点提出了质疑。&lt;br /&gt;
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总之，对于这些地方性文章中传统姿态的“讽刺”解读，凸显了传统概念是参与传统与现代文本所需的重要部分和建构，而现代文本最终也是在这个基础上发展起来的。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 09:14, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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Zhu Ziqing’s “The Qinhuai River Amidst Sounds of Oars and Shadows of Lamps” (''Qinhuaihe''), Yu Dafu’s “Spring Day on Diaotai” (''Diaotai''), and Fang Lingru’s “Travel Notes from Langya Mountain” (''Langyashan''), are three notable essays of place in which place and memory serve as the main conceptual elements through which the writers’ negotiation of identity and meaning unfolds.  By questioning apparent meaning and literary convention, the texts become ultimately texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays. &lt;br /&gt;
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In the essays, the authors engage in activities such as climbing mountains, traversing rivers, and contemplating history and historical figures while visiting ruins and other sites. &lt;br /&gt;
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Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译）	&lt;br /&gt;
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Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. &lt;br /&gt;
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Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）&lt;br /&gt;
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In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）&lt;br /&gt;
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朱自清的《浆声灯影里的秦淮河》（《秦淮河》）、郁达夫的《钓鱼台的春昼》（《钓鱼台》）和方令孺的《琅琊山游记》（ 《琅琊山》）是三篇有关地点的著名散文。在这几篇文章中，地点和回忆是主要的概念性元素，作者通过这些元素来具体展开关于身份认同以及具体含义的阐述。通过质疑明显的含义和文学习俗，这些文本最终象征着作者的不懈努力与探索，因此成为了文本的开放性文本。&lt;br /&gt;
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在这几篇散文中，作者在参观历史遗址时都参加了诸如爬山、过河、对历史以及历史人物进行深思的活动。&lt;br /&gt;
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Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译）	&lt;br /&gt;
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Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. &lt;br /&gt;
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Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）&lt;br /&gt;
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In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 11:26, 8 December 2020 (UTC)&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓鱼台上的春昼》（钓鱼台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。&lt;br /&gt;
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在这些散文中，作者在参观遗址和其他地方时，还参与了登山、穿越河流、思考历史和历史人物等活动。&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:52, 9 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台上的春昼》（钓台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:53, 10 December 2020 (UTC)&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台的春昼》（钓台）、方令儒的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:10, 13 December 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
For example, all three essays contain elements reminiscent of the poetic convention of contemplating the past (''huaigu''), often conveying regret over gone times and places. Images exposing the transience of human life in an enduring landscape suggest the writer’s uncertainty about the present and future, implying his desire to find a more lasting place within his existing surroundings.  &lt;br /&gt;
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In their apparent affinity to poetic conventions, traditional gestures seem to promise the writer a degree of authority and certainty in observing and interpreting surroundings and thus in determining his position and role in them. An ''ironic'' understanding and reading of such gestures in Zhu, Yu, and Fang's essays however, exposes the concept of tradition as construct indispensable for a discourse on modernity. &lt;br /&gt;
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Evoking and sharing the cultural memory of place writing, Zhu, Yu, and Fang’s essays not only contain, but also constitute traditional gestures.（文献无需翻译） &lt;br /&gt;
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FFor a concise explication of this poetic convention, see Hans H. Frankel, ''The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry'' (New Haven and London, 1976), chapter 9 “Contemplation of the Past.”（文献无需翻译）&lt;br /&gt;
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例如，这三篇文章都包含了凝视过去的诗学传统的元素（怀古），常常表达对逝去的时光和地方的遗憾。在一幅经久不衰的风景画中，展现人类生命的无常，暗示着作者对现在和未来的不确定性，暗示着他希望在现有的环境中找到一个更永恒的地点。&lt;br /&gt;
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传统的姿态与诗歌的传统有明显的亲近感，它似乎给了作者一定程度的权威性和确定性来观察和解释周围的环境，从而确定自己在其中的定位和角色。然而，通过对朱自清、郁达夫和方灵如的文章中这些姿态的反讽地理解和解读，揭示了传统观念构筑现代性话语所不可或缺的。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 05:50, 13 December 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
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Modern texts evolve from a questioning and reassessment of well-established meaning and value, rather than from a mere rejection of what are perceived to be traditional notions, customs, and ideals. Once tradition is divested of its absolute claim and subject to interpretation and reconstruction, modernity can emerge. &lt;br /&gt;
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Generally, the term “gesture” describes an activity as “something done to convey one’s intentions or attitude.”  The traveler’s activities are more than actions that have an obvious purpose, such as getting to a location or viewing a certain site. Roland Barthes’ notion of gestures in writing and writing as gesture suggests the multiplicity of meaning within essays of place and ultimately bears out the idea of essays of place as texts on writing. In ''The Responsibility of Forms'', Roland Barthes describes “gesture” in art as&lt;br /&gt;
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“Gesture.” Def.2. ''Oxford American Dictionary''. New York: Avon Books, 1980. （文献无需翻译）&lt;br /&gt;
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''The Oxford English Dictionary'' defines “gesture” as “a move or course of action undertaken as an expression of feeling or as a formality; especially a demonstration of friendly feeling, usually with the purpose of eliciting a favorable response from another.” Def.4.b. ''The Oxford English Dictionary''. 2nd Ed. (Clarendon Press: Oxford, 1989).（文献无需翻译）&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
[s]omething like the surplus of an action. The action is transitive, it seeks only to provoke an object, a result; the gesture is the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an atmosphere [. . .]. Hence, let us distinguish the message, which seeks to produce information, and the sign, which seeks to produce an intellection, from the gesture, which produces all the rest (the “surplus”) without necessarily seeking to produce anything. &lt;br /&gt;
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Traversing mountains and lakes are activities with a concrete objective. As “gestures” or “surplus action,” those activities are signs of attitudes that in Zhu, Yu, and Fang’s essays ultimately serve to constantly question and change meaning by providing possibility instead of demarcation of meaning and signification. &lt;br /&gt;
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Barthes, Roland. “''[Readings: Gesture] Cy Twombly: Works on Paper.” The Responsibility of Forms''. By Barthes. Trans. Richard Howard, (Berkeley and Los Angeles: University of California Press, 1985) 160.（文献无需翻译）&lt;br /&gt;
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According to Roland Barthes, every text is ultimately a product of gestures Discussing the work of American painter Cy Twombly (b. 1928), Roland Barthes furthermore says about the workings of gestures:（文献无需翻译）          &lt;br /&gt;
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[t]he artist [ . . . ] is by status an “operator” of gestures: he seeks to produce an effect and at the same time seeks no such thing; the effects he produces he has not obligatorily sought out; they are reversed, inadvertent effects which turn back upon him and thereupon provoke certain modifications, deviations, mitigations of the line, of the stroke. Thus in gesture is abolished the distinction between cause and effect, motivation and goal, expression and persuasion (Barthes 160).（文献无需翻译）&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
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Zhu Ziqing’s ''Qinhuaihe'' describes a pleasure excursion on the Qinhuai River he and his friend Yu Pingbo embark on one summer evening. Singsong girls and their musicians, offering their services to passengers in the roaming boats, provide popular entertainment on the river. Zhu and Yu try to enjoy the atmosphere produced by a combination of natural scenery, history, lantern lights, and sound of oars and of music. Despite mingling with other boats whose passengers happily solicit the singsong girls’ services, they remain passive observers. Zhu's narrative culminates in his and Yu’s direct encounter with the singsong girls, who approach them to solicit business. This encounter mortifies and confounds Zhu, turning the trip into a disconcerting experience. Both Zhu and Yu reject the singsong girls’ solicitations, and soon after the encounter, they head back to the pier.    &lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
Yu Dafu’s ''Diaotai'' describes his travels in the countryside after having hurriedly left Shanghai to avoid being rounded up by Nationalist forces in the spring of 1931. Watching boats taking locals to their ancestral graves, Yu decides to visit his hometown in time for the Qingming festival. After only a few days with relatives and friends however, he becomes restless and leaves for a trip to Diaotai (Fishing Terrace) on Fuchun Mountain. He stops over at Tonglu for the night and despite the late hour climbs Tongjun Mountain located across the river. The next day, Yu visits the memorial hall on Fuchun Mountain dedicated to the Eastern Han recluse Yan Ziling and then climbs the famous Diaotai.&lt;br /&gt;
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郁达夫的《钓台的春昼》一书中，描写了1931年春天他为逃避国民党军队的抓捕，匆匆离开上海后在乡下的旅行的故事。郁达夫看见船只把过世的当地人带回祖墓埋葬，于是他决定在清明节前回到家乡。 然而，与亲戚和朋友团圆几天之后，他变得躁动不安，便前往富春山钓台旅行。 他停留在桐庐过夜，尽管天色已晚，他爬上横跨在河面的桐郡山。 第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:51, 10 December 2020 (UTC)&lt;br /&gt;
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郁达夫的《钓台的春昼》描述了他在1931年春天为避免被国民党军队围捕，匆忙离开上海后在农村的旅行。看着载着当地人去往他们祖坟的船只，郁达夫决定在清明节的时候回家乡看看。然而，在与亲戚朋友相处几天后，他变得焦躁不安，便前往富春山的钓台。他在桐庐停留了一夜，尽管时间已晚，他还是爬上了河对岸的桐君山。第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:50, 10 December 2020 (UTC)&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
Fang Lingru and a group of friends visit various historic sites scattered in the mountains they traverse during a spring outing. The most famous site is the pavilion named by Ouyang Xiu and celebrated in his famous ''An Account of the Pavilion of the Drunken Old Man'' (Zuiweng ting ji).  The group decides to stay overnight at the ''Temple of Cultivation'' (Kaihua si), located deeper in the mountains, and spends the rest of the day touring the mountains and their cultural imprints guided by a monk. In the evening, the friends enjoy the nocturnal atmosphere and quietude of temple and mountains. The next day, the day of the Qingming festival, the group tours two more mountains before returning to Nanjing in the evening.&lt;br /&gt;
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在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜，并在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，又游览了两座山，傍晚时分才返回南京。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 06:36, 10 December 2020 (UTC)&lt;br /&gt;
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在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜。在休息之前，众人在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，大家又游览了两座山，傍晚时分才返回南京。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:48, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
All three essays contain attempts to adopt gestures of contemplating times and places while traversing varied landscapes. Yet, three elements in the essays destabilize significance and consequence of those gestures, undermining their power to confirm identities and signaling the questioning nature of the texts. These three elements are first the authors’ encounters with people inhabiting the landscape, second, elements of incompletion and ambiguity that unsettle the traditional gestures, and, third, as supplementary elements, the essays’ self-referential strategies. The following readings of Zhu, Yu, and Fang’s essays explain and illustrate one of each of these elements respectively.&lt;br /&gt;
这三篇文章都试图在穿越不同的风景时采用思考时间和地点的姿态。然而，文章中的三个因素动摇了这些姿态的意义和后果，削弱了它们确认身份的力量，并暗示了文本的质疑本质。这三个要素，一是作者与居住在这片风景中的人的接触，二是对传统姿态的不完善和模糊，三是作为补充的自我参照策略。以下阅读朱、于和方的文章，分别解释和说明这些元素中的一个。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 11:47, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
'''Encounters with People in Zhu Ziqing’s Qinhuaihe'''&lt;br /&gt;
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Encounters with people populating the landscape have two effects. First, these encounters force the author to interact with the landscape. It becomes impossible for him to demarcate his position and identity by contemplating places from an autonomous vantage point.  Zhu and Yu’s encounter with the singsong girls is the central human encounter in Zhu’s ''Qinhuaihe''. Initially, the singsong girls’ presence on the river does not appear to displease or disconcert Zhu. However, he maintains this sanguine perception by keeping a distance to the singers’ boats. The distance allows him to assume the traditional gesture of traversing a river to take in and contemplate its scenery and history from an independent viewpoint.&lt;br /&gt;
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It is important to point out that a clear distinction between traveler and landscape does not mean the travelers’ disassociation from his surroundings. Rather it points to the clear demarcation of positions and roles necessary to form a stable unified whole from two distinct units.(文献无需翻译)&lt;br /&gt;
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'''朱自清的《秦淮河》中的相遇'''&lt;br /&gt;
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与居住在风景中的人的相遇有两个效果。首先，这中相遇迫使作者与场景互动。这样他就不能通过从对自己有利的视角来划分自己的位置和身份。 朱自清、郁达夫二人与歌女的相遇，是朱自清《秦淮河》中最核心的人际交往。起初，歌女们在江上的出现，似乎并没有让朱自清感到不快或不安。然而，他通过与歌女们的船保持一定的距离来维持这种乐观的看法。这种距离使他能够以一种传统的姿态在江上穿行，以独立的视角来欣赏和思考江上的风景和历史。&lt;br /&gt;
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需要指出的是，旅行者与风景的明确区分，并不意味着旅行者与周围环境的脱离。相反，它指向的是明确的位置和角色的划分，这对于从两个不同的环境中形成一个稳定的统一整体是必要的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:51, 13 December 2020 (UTC)&lt;br /&gt;
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'“朱自清的《秦淮河》的相遇”&lt;br /&gt;
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遇到有人居住的景观有两个影响。首先，这些遭遇迫使作者与景观互动。对于他来说，通过从自治的有利位置考虑地点来划分自己的位置和身份变得不可能。朱和俞与歌星女孩的相遇是朱的《秦淮河》中人类的主要相遇。最初，歌星女孩在河上的存在似乎并没有使朱朱感到不悦或不安。但是，他通过与歌手的船保持一定距离来保持这种乐观的感觉。距离使他能够采取传统的穿越河流的姿势，从一个独立的角度来欣赏和思考河流的风景和历史。&lt;br /&gt;
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重要的是要指出，旅行者与风景之间的明显区别并不意味着旅行者与周围环境脱节。相反，它指出了从两个截然不同的单元形成一个稳定的统一整体所需的职位和角色的明确划分。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:05, 13 December 2020 (UTC)Ou Rong&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
The encounter with the singsong girls witnessed by other passengers unsettles gesture and atmosphere. By diminishing the safe distance between writer and observed place (which so far included the singers), the encounter forces Zhu to play an active role in his surroundings. The singers step out of the landscape picture, and Zhu becomes part of the place against his will.&lt;br /&gt;
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Ironically, however, the ensuing interaction nevertheless exposes an unbridgeable gap between author and people inhabiting the landscape. Zhu’s confrontation with the singsong girls reinforces an experience of distance, misapprehension, and alienation rooted in the dilemma of modern intellectuals. &lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
Zhu is both tempted by the offer and ashamed about even entertaining such a sentiment. Being publicly approached by women who sell their services to men and confronting his inner conflicting emotion embarrasses Zhu, who considers himself a moral and modern individual professing to condemn the exploitation of underprivileged social groups. &lt;br /&gt;
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The text moves from the portrayal of external space and atmosphere to a detailed self-dissection of Zhu's psyche and thoughts, a strikingly modern feature. As Zhu's progressive sensibilities interfere with acting out his desire, this psychological passage further disrupts the cohesion of the text as traditional gesture.&lt;br /&gt;
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朱自清受到诱惑的同时又为自己的这种情绪感到羞愧。朱自清自认为是高尚现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪和内心的矛盾情绪，朱自清却感到尴尬。&lt;br /&gt;
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文本从对外部空间和氛围的描写，转向对朱自清的心理和思想细致的自我剖析，具有显著的现代特征。由于朱自清的进步情感干扰了他的欲望的表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:30, 9 December 2020 (UTC)&lt;br /&gt;
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朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代人，会公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，感觉十分尴尬，&lt;br /&gt;
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文本通过对外部空间和氛围的描写，以及对朱自清的内心思想的自我剖析，均具有显著的现代特征。由于朱自清的先进情感干扰了他的欲望表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:05, 9 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
The encounter quickly deflates and undermines Zhu's attempt to adopt traditional gestures, causing confusion and conflict rather than reassurance of positions and identities in the river’s ultimately unpredictable space. Zhu’s experience of place is marked by a tension arising from an attempt to assert his independent position within his surroundings, the futility of the attempt, and the concurrent impossibility to become part of his surroundings.&lt;br /&gt;
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Significantly, only when Zhu’s inner conflict has abated somewhat, he and Yu are rewarded. On their way back, they pass a boat with a solitary singer coming toward them.&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
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The singer is sitting in the bow of the unlit boat, singing only to herself. This unexpected episode has an at least temporarily redeeming quality for Zhu. However, his feeling of contentment lasts only a fleeting instant, and soon he and Yu are back in the bustling amusement district. Importantly, Zhu and Yu do not truly encounter the solitary singer. Possibly, the singer did not even notice them. This brief moment comes closest to successfully adopting a traditional gesture. As long as they maintain a distance, fulfilling the significance of the gesture seems possible. Ultimately however, Zhu, not in control of the gesture, is unable to prolong this moment.&lt;br /&gt;
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歌者坐在没有灯光的船头，只对自己唱歌。这个意外的插曲，对朱棣来说，至少有一种短暂的满足。然而，他的满足感只持续了一瞬间，很快他就和余先生回到了繁华的游乐区。其实朱和宇并没有真正遇到那个孤独的歌手。也有可能歌手根本没有注意到他们。但这短暂的一瞬间最接近传统的姿态。只要他们保持一定的距离，传递这个姿态的意义似乎是可能的。然而最终由于朱先生没有保持好这一姿态，他没能延长这个瞬间。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:49, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
He is left in utter despondency. Threat and intimidation Zhu experiences are signified well by the way he perceives his surroundings immediately after passing the lone singer’s boat. Passing under a tall bridge, it seems to Zhu “as if the darkness was opening its huge mouth, about to swallow [their] boat.”  Zhu is left in a no-man’s-land between private desire and modern awareness.&lt;br /&gt;
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'''Incompletion and Ambiguity in Yu Dafu’s ''Diaotai'''''&lt;br /&gt;
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Elements of incompletion and ambiguity further question the significance of traditional gestures. By unsettling the essay’s narrative, these elements suggest an ironic reading of the texts that undermines the reliability of traditional gestures when searching for stable definitions of selves and surroundings.&lt;br /&gt;
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他陷入了彻底的绝望。朱棣棣所经历的威胁和恐吓，从他经过独唱者的船后立即感知周围环境的方式就可以看出。经过一座高高的桥下，在朱棣看来，&amp;quot;仿佛黑暗张开了巨口，要把他们的船吞掉&amp;quot;。 朱先生在私欲与现代意识之间陷入了无人区。&lt;br /&gt;
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'''郁达夫的''钓鱼台''的不完整与模糊'''&lt;br /&gt;
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不完整和模棱两可的元素进一步质疑传统手势的意义。这些元素使文章的叙事变得不稳定，暗示了对文本的反讽性解读，破坏了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:20, 9 December 2020 (UTC)&lt;br /&gt;
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他陷入了深深的怅惘。经过歌舫后，他立即感知到周围环境变化，从这里就可以看出朱自清所感受到的压迫和不安。船过大中桥时，朱自清写道，&amp;quot;如黑暗张着巨口，要将我们的船吞了下去&amp;quot;。 朱先生在私欲与现代意识之间陷入了无人区。&lt;br /&gt;
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'''郁达夫《钓台的春昼》的不完整性与模糊性'''&lt;br /&gt;
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不完整性和模棱性的要素对传统手势的意义提出更多的质疑。通过打乱文章的叙述方式，这些要素暗示了对文本的反讽性解读，削弱了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:55, 10 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
Obstacles in Yu Dafu’s path paired with a restlessness he experiences in places destabilize the gestures he tries to adopt. The significance of his trip remains ambiguous.&lt;br /&gt;
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The evening before reaching Diaotai, Yu sets out to climb Tongjun Mountain to visit a Daoist temple. Upon disembarking from the ferryboat, he immediately falls over a loose rock on the dark and rugged mountain path. The image of a stumbling Yu on his solitary endeavor to climb the mountain at night is almost comical. His idea to climb the mountain at this hour appears unreasonable and undermines any effect the attempt to adopt a traditional gesture might have.&lt;br /&gt;
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郁达夫道路上的障碍，再加上与他在一些地方感到了不安，这都打破了他之前想要的姿态。他此行的意义依然模糊不清。&lt;br /&gt;
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在到达钓鱼台的前一天傍晚，郁达夫出发去爬桐君山，去一座道观。一下了渡船，在一条崎岖漆黑的山路上，他摔倒在了一块松动的石头上。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也打破了他想要的任何意义。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:19, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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出现在郁达夫道路上的障碍，再加上他在一些地方感到的不安，都打破了他之前想要的姿态。他此行的意义依然模糊不清。&lt;br /&gt;
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在到达钓鱼台的前一天傍晚，为了参观一座道观，郁达夫出发去爬桐君山。一下了渡船，在一条崎岖漆黑的山路上，他被一块松动的石头绊倒了。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也破坏了采用传统姿态可能产生的任何影响。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:38, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
The ferryman hands Yu a pack of matches to help him find the way. At first, Yu is “groping [his] way up the mountain,”  but as he approaches the top, moonlight begins to illuminate his path. A vast sky and a broad vista into the distance and onto the town seem to increase Yu’s chances of adopting the traditional gesture of contemplating place and past. As he approaches the temple however, an apparently locked gate in the low wall surrounding it obstructs Yu’s progress. After pacing up and down for a while not knowing what to do, he finally tries the gate, and surprisingly it opens. Ironically, Yu’s trip is delayed and almost cut short not by a locked gate but by his indecision and hesitation.&lt;br /&gt;
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渡船人递给他一包火柴帮他找路。一开始，郁正“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。辽阔的天空和小镇的广阔景色似乎增加了郁采用传统方式思考地方和过去的机会。然而，当他走近庙宇时，四周低矮的墙壁中一扇明显锁着的门阻碍了他的前进。在不知所措地踱来踱去后，他最终尝试开门，而门惊喜地被打开了。更具有讽刺意味的是郁的行程延误，不是因为一扇紧锁的大门，而是因为他的犹豫不决。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:29, 13 December 2020 (UTC)&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
Although he finds the temple gates indeed securely shut for the night, Yu is at this point quite content to sit on the wall adjacent to the gate from where he can overlook the river and enjoy the scenery. He gazes at the stars, clouds, and moon above and the lights of the boats below gently wavering in the wind. At last, Yu’s position allows him to contemplate place and past from an elevated and independent vantage point. The unparalleled scenery of Tongjun Mountain inspires Yu to contemplate the lives of the Eastern Han (25-220 A.D.) recluse Yan Ziling and that of the two Dai brothers, Dai Bo and Dai Yong of the Easter Jin (317-420), who made this area their home.&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
Yu fully appreciates and identifies with their decision to lead a hermit’s life foreshadowing his own life of seclusion soon to begin. The clapper of the night watch in town finally wakes Yu to reality. Startled, he runs back head over heels to the boat. This abrupt ending to Yu’s reverie and his sudden anxiety to get back to the boat sharply contrast with the reflective atmosphere and sentiment of the passage. The traditional gesture is abruptly terminated. Like the clapper startling Yu, this abrupt ending to the nightly scene startles the reader.&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
On the boat to Diaotai, Yu, tired from admiring the scenery, falls asleep and dreams of a gathering with some old friends in an inn along the river. The text does not make it explicitly clear that Yu is dreaming. This becomes fully clear only when the boatman wakes Yu as they approach Diaotai. &lt;br /&gt;
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在去钓鱼台的船上，赏风景赏累了，他睡着了，梦见和几个老朋友在河边的客栈里聚会。文中并没有明确表示郁达夫是在做梦，只有当船夫在接近钓鱼台的时候把他叫醒，这才变得完全清楚。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:48, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In his dream, the friends chat and make merry, but after all has been said and done, the atmosphere turns cheerless and awkward. At the center of the dream is a poem Yu composed a few years ago at a similar occasion. It is a political poem written in traditional septa-syllabic regulated verse style, lamenting the chaotic state of the country and expressing the dissatisfaction of intellectuals with the government.&lt;br /&gt;
&lt;br /&gt;
在他的梦里，朋友们聊天，嬉戏，但这一切都结束后，气氛变得不愉快和尴尬起来。梦的中心是一首郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，哀叹国家的混乱状态，表达知识分子对政府的不满。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:48, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在去钓鱼台的船上，郁达夫疲于赏景，而后进入梦乡。他梦见和几个老朋友在河边的客栈里聚会。文中并未表明这是郁达夫在做梦，只有当船夫在临近钓鱼台叫醒他时，一切才水落石出。&lt;br /&gt;
在他的梦境里，朋友们一起聊天、嬉戏，但当一切都结束后，气氛变得无趣且尴尬。梦的中心出现郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，其哀叹国家的混沌，表达知识分子对政府部门的不满。&lt;br /&gt;
--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:42, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
One prominent traditional image in the poem is the loyal official who, “feigning madness,” (yang kuang) speaks the truth that goes unheeded. Here, a well-known traditional gesture is embedded in a text within a text. Before the gesture can come to full fruition, however, it is again terminated, this time by the boatman who wakes Yu.&lt;br /&gt;
&lt;br /&gt;
在这首诗中，一个突出的传统形象是这个忠诚的官员，他假装疯狂（佯狂）地说出了未被注意的真理。这里，一个众所众知的传统手势被嵌入到文本中的文本中。然而，在做这个手势之前，他这一次再次被叫醒于的船夫终止了。&lt;br /&gt;
Significantly, Yu's perception of his surrounding has completely changed. Before falling asleep, he saw green mountains encasing the clear river and sandbanks with blossoming flowers; in short, tranquil and picturesque scenery. As the boat approaches Diaotai, however, “river and mountain scenery all around had suddenly changed.” (文献无需翻译)&lt;br /&gt;
&lt;br /&gt;
很明显，于对他周围的看法改变了。在入睡之前，他看见连绵的青山环绕清澈的河流，沙洲上百花盛开，总之就是一幅祥和的如画风景。然而，当船接近钓台时，周围的山水画已经不知不觉间改变了。&lt;br /&gt;
&lt;br /&gt;
Zhu Ziqing, “Jiangsheng dengyingli de qinhuaihe,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 95.(文献无需翻译)&lt;br /&gt;
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Yu Dafu, “Diaotai de chunzhou,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 204.&lt;br /&gt;
&lt;br /&gt;
Yu Dafu, 206(文献无需翻译)--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 10:44, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
The river has narrowed and the mountains have moved extremely close, “as if ahead was no further way.”  The towering mountains create an oppressively lonely atmosphere, in which even the sound of the oars seems disheartened; the echo is audible only after a long while, amplifying the “ancient silence,” the “silence of extinction”  enveloping the boat. The sun is gone, and only a soughing wind comes and goes. &lt;br /&gt;
&lt;br /&gt;
The surrounding has turned ominous. Yu’s anticipation turns into apprehension. Compared to his reverie on Tongjun Mountain, Yu now perceives Diaotai as desolate and gloomy, eerily echoing the chaos and tumult evoked in his poem. He describes dilapidated stone structures overgrown with weeds.&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
Approaching Yan Ziling’s ancestral hall, now no more than decrepit walls and broken tiles, Yu begins to feel “a little afraid, afraid to encounter the ghost of Master Yan, old and dried-up like strips from a towel gourd.”  Yu’s rapidly growing skepticism and discomfort upon approaching the setting further suggest the impossibility to find meaning and identity by adopting traditional gestures in places.&lt;br /&gt;
&lt;br /&gt;
On the Fishing Terrace, Yu is curiously reminded of a postcard depicting the William Tell Memorial Hall and its scenery in Switzerland. The colors of mountains and rivers he sees from Diaotai are strikingly similar to those on the “collotype postcard.”&lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
However, in the scenery he views from Diaotai, “the variations are a little greater, the surrounding in all directions is just a little more jumbled and chaotic, that’s all, but this is actually a plus, enough to represent the East’s desolate beauty of national degeneration.”  Ironically, Yu’s comparison between the postcard picture and his view stresses the similarities between the colors of the landscapes only. He views a place that in its very structure carries the marks of present crisis. Associating his description of the scenery with Switzerland generally associated with national stability and social order only intensifies the image of national chaos and debility. &lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
Superficially conforming to the traditional gesture of contemplating (and lamenting) place and past, the comparison here is not one between present and past, but one between two presents. Yu's view evokes scenery on a foreign postcard, which in its modern photographic quality and miniature size cannot evoke the past, challenging the idea of a traditional gesture. &lt;br /&gt;
&lt;br /&gt;
After having had some wine in the hall, Yu walks up to the Buddhist shrine whose derelict walls are covered with poems, most of them of poor quality. In a corner near the ceiling, he finds an inscription by the Qing loyalist and fellow villager Xia Lingfeng (Xia Zhenwu, 1854-1930), whose commitment Yu admires despite objecting to Xia’s political convictions. Yu inscribes the poem from his dream next to Xia’s.&lt;br /&gt;
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这里的对比并非介于今昔之间，而是两个现在时间的对比，从表面上看，这与传统的伤怀表达方式不谋而合。余想起了外国明信片上的风景，其现代摄影质量和微型尺寸无法唤起过去，因而挑战了传统的表达方式。&lt;br /&gt;
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在祠堂里喝了点酒后，俞走到佛龛前，佛龛斑驳的墙壁上满是诗词，其中大部分文采平平。在天花板附近的一个角落里，他发现了一首由夏灵凤（夏振武，1854-1930）题的词，夏灵凤是清朝的拥护者，也是本村的村民。尽管余反对夏灵凤的政治信念，但他仍然钦佩他的忠诚。因而余在夏灵凤的词旁边也作了一首诗。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:32, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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虽然表面上符合传统的伤怀表现手法，但这里并非今昔对比，而是两个现时的比较。余秋雨的观点让人联想到外国明信片上的风景，以其现代摄影的质量和微型尺寸无法唤起过去，挑战了传统的表达方式。&lt;br /&gt;
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在祠堂里喝了点酒后，余秋雨走到佛龛前，佛堂废弃的墙壁上挂满了诗词，其中大都文采平平。在天花板附近的一个角落里，他发现了清朝忠臣、同乡夏灵凤（夏振武，1854-1930）的题词，虽反对夏的政治立场，但他还是很欣赏夏的忠诚，因将梦中的诗词题在夏的旁边。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 07:05, 10 December 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
Initially, Yu's act of inscribing the poem suggests that he sympathizes and identifies with Xia. However, since Yu does object to the substance of Xia’s ideals and motives, the gesture of writing a poem next to Xia’s only stresses the ambiguity of such an act. With the gesture of inscribing his poem along with others of inferior quality and next to that of a Qing loyalist Yu willingly obscures his own political stance and inadvertently questions the relevance of his act. The traditional-style poem placed in an obscure corner on the wall as one among many is ineffective, and the gesture of inscribing it loses its significance. Yu’s position and role in his time and place remains ambiguous and difficult to define. Ironically, while Yu’s essay saves the poem and its context from obscurity, it also exposes the very ambiguity of his act.&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
'''Self-referential strategy in Fang Lingru’s ''Langyashan'''''&lt;br /&gt;
&lt;br /&gt;
By foregrounding a texts’ constructedness, self-referential strategies question the idea of a texts’ definite and authoritative meaning. Suggesting the texts’ plurality of meaning further substantiates their significance in negotiating perspectives, positions, and identities.&lt;br /&gt;
&lt;br /&gt;
Concluding the narration of her two-day trip, Fang Lingru writes: “There are still many more scenic spots and ancient sites on Langya Mountain; if it’s meant to be, I’ll come another time to visit again. ''There is nothing more I can add to this piece'' (my emphasis).”  &lt;br /&gt;
&lt;br /&gt;
Fang Lingru, “Langyashan youji,” ''Zhongguo xiandai youji xuan'', eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 148.&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
Yet, she goes on to recommend a particular dish and wine the group had at a restaurant in Chuzhou before returning to Nanjing. This rather banal and anticlimactic addendum to her narrative is then followed by two more paragraphs, describing her sentiments upon returning home. &lt;br /&gt;
&lt;br /&gt;
When I got home, it was already ten o’clock at night, and a fine drizzle filled the air. Just before leaving, the old monk Shangkuan had tied three Spring Azalea sprigs to my rickshaw, which I planted immediately upon coming home. Now the twigs have already developed tender sprouts; by this time next year, they will blossom. XX named them “Bodhi Shangkuan.”&lt;br /&gt;
&lt;br /&gt;
然而，在返回南京之前，她继续推荐该伙人在滁州一家饭店享用过的特殊菜肴和美酒。然后，在她叙述的这个平淡而滑稽的附录中再加上了两段，描述了她回家后的情绪。&lt;br /&gt;
&lt;br /&gt;
当我回到家时，已经是晚上十点了，细雨蒙蒙。临走时，老和尚尚宽把三只杜鹃花春天的小树枝绑在了我的人力车上，我刚回家时就把它们种了下来。现在，树枝已经长出嫩芽了。到明年这个时候，它们将会开花。 XX将其命名为“菩提上宽”。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:02, 13 December 2020 (UTC)Ou Rong&lt;br /&gt;
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然而，在返回南京前，她继续给这些人推荐他们此前在滁州一家饭店已经吃过的特别菜肴和美酒。她的叙述非常乏味且跟着一个虎头蛇尾的附录。之后，这段叙述之后又加了两端来描写她回家后的感受。&lt;br /&gt;
当我回到家，已经深夜十点了，且下着淅淅沥沥的小雨。在离开前，老和尚上宽把三个春季的杜鹃花小枝绑在了我的人力车上，一回家我就立即把它们种了。现在，这些小枝已经长出嫩芽了。明年这个时候，它们就会开花了。XX给其取名为“菩提上宽”--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:06, 13 December 2020 (UTC)&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
I’ve been feeling extremely tired lately, but thinking back to the trip into the mountains, I can say that it was flawless, and I have no regrets.  &lt;br /&gt;
&lt;br /&gt;
It is a cliché to state at the end of a text that nothing can be added. Fang’s appended restaurant and food recommendation suggests her eagerness to relate every detail from the trip. However, extending her narrative by two paragraphs, she effectively contradicts her own assertion that everything worth saying has been said. This contradiction and the contrast between her matter-of-fact-style in which she ostensibly ends the essay and the intimate tone and personal content of the concluding paragraphs highlight the act of writing and constructing the text.&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
The final paragraphs further question the effect of adopting traditional gestures to find stable meaning and purpose in and through one’s surroundings. For Fang the gesture of translating visits to sites and ruins into detailed description evoke the past is not sufficient. Her encounter with the monk ultimately renders her experience on Langya Mountain significant. The flowers she received from him signify the possibility of growth, nurturing, and encouragement. By contrast, the significance of the sites themselves remains ambiguous.&lt;br /&gt;
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文中最后几段，方令孺进一步质疑了传统手势的效果，在传统手势中，文章的意义和目的仅仅通过环境体现出来。对方令孺来说，如果运用简单的翻译手势，只是详细描述到访的琅琊山遗址是远远不够的，因为与那名僧人的相遇才是她琅琊山一行最有意义的事情，她从僧人那里收到的花代表着生长的可能性、象征着养护和激励，相比之下，琅琊山遗址本身的意义确是模糊不清的。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:49, 10 December 2020 (UTC)Ouyang Ling&lt;br /&gt;
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在文中最后几段，方令孺进一步质疑了采用传统手势在环境中寻找稳定意义和目的而产生的效果。对方令孺来说，只对到访的琅琊山遗址进行详细描述是远远不够的。遇见这名僧人让她的琅琊山一行意义非凡。她从僧人那里收到的花象征着成长、呵护和鼓励。相比之下，琅琊山遗址本身的意义仍然是模糊的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:54, 11 December 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
The last two paragraphs of Fang’s essay complete the framework of personal reflection that encases the largely dispassionate narration of her trip. Personal memory is the ultimate locus of meaningful experience and the creative force underlying the essay. Exhausting facts and details in representing an experience does not bring a text to its end despite assertions to the contrary. Fang’s last sentence suggests that remembering the trip in close connection with the human encounter constitutes a source of satisfaction for her, rather than the emulation of traditional gestures that seem to promise an authoritative rendition of place and time. &lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.&lt;br /&gt;
&lt;br /&gt;
Conclusion&lt;br /&gt;
The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.&lt;br /&gt;
Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.&lt;br /&gt;
&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
&lt;br /&gt;
The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.&lt;br /&gt;
她的记忆和文章如同植物一般，充满活力且不断变化着。她宣布文本的结束，为相同文本的延续所破坏。方舟子论文中的提到的自我参照策略最终肯定了可能性和潜能，而非完整性和终结性。最终的结论就是，在朱、余、方的散文中采用的传统诗歌节奏并没有消除作者的不确定性和矛盾心理。在每篇文章中，不同的因素素质疑这些姿态的可靠性和意义，突出了作家的经验和地位在其所参观过地方的模糊性。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 08:01, 13 December 2020 (UTC)pengjuan&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
Traditionally, the poet contemplating place and past was a solitary figure estranged from his times and surroundings, often questioning the present state of affairs. From the perspective of literary history, however, sharing this gesture and its variations with other poets in a long line of succession offered writers a way to secure rather than question their role and identity. Through canon formation and the writing of literary history, acts and themes such as contemplating places and past came to be understood as customary endeavors gaining and increasing their significance from their perceived continuity. Such understanding is part of the ''construction of traditions'' to legitimize poetic authority and continuity, or - as during the May Fourth movement - change and eradication.  &lt;br /&gt;
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Relevant to the argument here is the idea of canon formation and the way it works. The argument does by no means suggest that all texts based on or containing certain traditional gestures and conventions are indeed similar and unchanged over the long pre-modern period. Nor does it suggest that in pre-modern travel and landscape writings the writer can indeed successfully confirm his identity and role through following the conventions of his time. （文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
传统上，这位诗人考虑的地方和过去是一个与他的时代和周围环境疏远的孤独人物，经常质疑现在的事态。但是，从文学史的角度来看，与其他诗人一路相继分享这种姿态及其变化，为作家提供了一种确保而不是质疑其角色和身份的方式。 通过教规的形成和文学史的写作，诸如冥想地点和过去之类的行为和主题被理解为习惯性的努力，这些努力和主题从其连续性中获得并增加了其重要性。种理解是使诗歌权威和连续性合法化的“传统建构”的一部分，或者像在“五四”运动中那样，改变和根除。&lt;br /&gt;
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与这里的论点相关的是佳能形成的思想及其运作方式。 该论点绝不暗示所有基于或包含某些传统手势和约定的文本在很长的前现代时期中确实是相似且不变的。 它也没有暗示在前现代的旅行和风景画中，作家确实可以通过遵循当时的惯例成功地确认其身份和作用。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:02, 10 December 2020 (UTC)&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
Instead of confirming the writer’s authority as mediator and interpreter of time and place, traditional gestures in modern essays such as Zhu, Yu, and Fang’s foreground his precarious role and position within his time and place. Attempting to adopt traditional gestures ultimately exposes the gestures as constructs that do not provide an indisputable way of understanding and representing surroundings and one’s position and role in them. &lt;br /&gt;
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By deconstructing the cultural and literary traditions, May Fourth intellectuals and writers tried to establish a practical dichotomy between conservative past and progressive present and future to confer authority upon the modern text.&lt;br /&gt;
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朱、俞、方等人的现代散文没有肯定作者作为时间、地点的中间人和译者的权威，而是强调作者在时间和地点中的不稳定角色和地位。采用传统手势最终会将手势揭示为一种构造，而这种构造并没有为再现环境及理解手势的地位和作用提供一种无可争辩的方式。&lt;br /&gt;
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通过解构文化和文学传统，五四知识分子和作家试图在保守的过去与激进的现在甚至未来之间建立一种实用的赋予现代文本权威性的二分法。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:53, 11 December 2020 (UTC)&lt;br /&gt;
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朱自清、郁达夫和方令孺等人在现代散文中的传统姿态非但没有确认作家作为时间、地点的中间人和译者的权威，反而凸显了他们在时间和地点中不稳定的角色和地位。试图采用传统姿态最终揭示作家姿态的方式称之为建构，这种建构并不能为理解和再现境以及作家在其中的地位和角色提供一种无可争议的方式。&lt;br /&gt;
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五四知识分子和作家通过对文化和文学传统的解构，试图在保守的过去和进步的现在与未来之间建立一种赋予现代文本权威的实用二分法。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:03, 11 December 2020 (UTC)&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
As the above readings show however, modern texts inevitably comprise a ''discourse'' on what is made out to be tradition and modernity. This discourse inscribes, negotiates, and transforms tradition within the modern text albeit in an ever varying and irrepressible way. The texts’ complexity, subtexts, and plurality of meaning arises from a ''negotiation'' between familiar conventions and new and modern perspectives in search of identities, roles, and positions in a changing time and place. Ultimately, the texts are texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
'''From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature'''&lt;br /&gt;
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''Wang Ban''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
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As a genre, the essay in contemporary China can be seen as a symptom of the decline of historical consciousness and narrative.  This comes through most sharply when compared with the previously established literary paradigm: the Chinese novel in the realistic mode.  For many decades the fiction of revolutionary realism served as ideological apparatus and medium for providing coherent temporal perceptions about past, present, and future.&lt;br /&gt;
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'''从历史叙事到散文世界: 当代中国文学的散文模式'''&lt;br /&gt;
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''王班''&lt;br /&gt;
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'''摘要'''&lt;br /&gt;
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散文作为一种体裁在当代中国被视作历史意识和叙事走向衰弱的象征。当将其与先前建立的文学典范—现实主义模式的中文小说对比时，这一点尤为明显。数十年来，革命现实主义的小说都是意识形态的工具和媒介，它为提供连贯的对于过去，现在和未来的时间观念而服务。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 11:41, 11 December 2020 (UTC)&lt;br /&gt;
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'''从历史叙事到散文世界:中国当代文学的散文化模式'''&lt;br /&gt;
&lt;br /&gt;
''王班''&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
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散文作为一种文学体裁，在当代中国被视为是一种历史意识和叙事意识衰落的表现。与之前确立的文学范式——现实主义模式下的中国小说相比，这一点表现得最为明显。几十年来，革命现实主义小说一直作为一种意识形态工具和媒介，提供了关于过去、现在和未来的连贯的时间感知。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 06:00, 13 December 2020 (UTC)&lt;br /&gt;
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'''从历史性叙事到散文世界：中国当代文学的散文模式'''&lt;br /&gt;
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''王班''&lt;br /&gt;
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'''摘要'''&lt;br /&gt;
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散文是一种文学体裁，中国当代的散文可以被视为历史性意识和叙事的衰落象征。与之前已建立的文学范式对比可明显得出这个结果：现实主义模式下的中国小说。许多年来，小说中革命性的现实主义是作为对过去，现在和未来提供连贯短暂的感知力的意识形态的结构和中介而服务的。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 10:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
The realistic novel's central assumption is epic best described by Georg Lukacs, who construes the epic form as a projected ideal that is realizable through narrated social and historical actions.  Little thought needs to be taken to see that a revolutionary epic is a strenuous but finally triumphant harmony of ideal and reality.  The rise of the essay in the recent decades epitomizes the turn of literary writing from the epic coherence of ideal and life to the dispersed and fragmented sensory or sensual pleasures and sheer appreciation of images or anecdotes.&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
The essay retreats from historical consciousness and responds warmly and lightheartedly to the advent of consumer culture.  It is designed to satisfy the modest needs of the urban consumer whose sensibility is becoming “essayistic,” prosaic, ahistorical and everyday, preoccupied with the most intimate and quotidian matters.  This paper takes a look back at Eileen Chang's thinking on the essay and attempts to trace the linkage between the modern essay and the rise of urban consumer culture.  Then through an analysis of Wang Anyi's novella ''The Story of Our Uncle'' (Shushu de gushi), I demonstrate how the retreat from historical consciousness to what I would call the essayistic structure of feeling is dramatized by Wang's groping, explorative essay/fiction. &lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
The main character Uncle's career illustrates the waning of historical consciousness.  This paper seeks to point out that the essay's ambivalence lies in its freedom from the straitjacket of the grand narrative and in its contribution to the withering of historical consciousness in the rising consumer culture in China.  &lt;br /&gt;
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'''The Essay and the Novel'''&lt;br /&gt;
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The essay as a cultural form can be grasped in its relation to the novel.  In twentieth-century China the novel in the epic, realistic mode had been the dominant form of literature and a pivotal ideological apparatus--probably up to the mid-1980s.  The Chinese realistic novel can be construed as epic in the way formulated by Georg Lukács.&lt;br /&gt;
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==Sagara Seydou ==&lt;br /&gt;
Its epic characteristic lies in its historical scope and teleology, its engagement with social and political issues, its intertwining of the individual's fate with collective projects, its aesthetics of the exemplary hero, and its striving for transcendence within everyday immanence.  The novel of socialist realism in the Mao era strove to achieve an imaginary unity of transcendent ideals and quotidian reality.  It depicts a universe in which the world and the self “never become permanent strangers to one another” (Lukács 29) and the individual's growth is of one piece with communal destiny.  In the post-Mao era, often dubbed the New Period, works of fiction appeared to be different but were still imbued with an epic impulse. &lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
It is true that the 1980s saw the emphatic upsurge of interest in the subjectivity of the autonomous individual, but far from an atomistic ego of appetitive self-interest, fictional characters were still figured as the subject of history.  For all its seeming revolt against the previously dominant mode, the image of the newly awakened modern self in the fiction of the New Period went hand in hand with the socio-historical process of socialist modernization, individuals serving as agents of this process.  Thus, Fredric Jameson's concept of national allegory--in which the individual's fate tells a larger story of collective destiny – was well received in Chinese criticism and made to apply with equal ease to the realistic novel of the Mao era as well as those advocating reforms.  &lt;br /&gt;
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Critics have noted that in the 1980s thought emancipation movement (sixiang jiefang), the fundamental literary mode and historical consciousness were derived from the Hegelian-Marxist version of the unity of subject and object, the individual and history.  So the self that was upheld was not an autonomous self cut off from the collectivity of social processes, but was assimilated and modeled by the requirements of the modernization drive.  See Qi Shuyu, 103-104.（文献无需翻译）&lt;br /&gt;
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诚然，在20世纪80年代，人们对自主个体的主体性产生了浓厚的兴趣，但小说中的人物角色远不是出于利己主义的欲望，而是仍然被视为历史的主体。新时期小说中新觉醒的现代自我的形象与社会主义现代化的社会历史进程携手前行，个人充当了这一进程的代理人。因此,詹姆逊的国家概念的寓言——个人的命运讲述一个更大的集体命运——在中国大受好评的批评,使平等轻松地应用于毛泽东时代的现实主义小说,以及那些鼓吹改革。&lt;br /&gt;
批评家们注意到，在20世纪80年代的思想解放运动中，主体与客体、个体与历史统一的黑格尔-马克思主义版本衍生出了基本的文学模式和历史意识。因此，所维护的自我并不是一个脱离社会过程的集体的自主的自我，而是被现代化进程的要求同化和塑造的自我。可见 Qi Shuyu, 103-104.--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 06:46, 13 December 2020 (UTC)&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
If this view of the novel sounds anachronistic to contemporary China, we may justify it by a reference to the striven-for unity of revolutionary ideals and social reality, of theory and practice, a prominent tenet in the utopian legacy of Marxism.  As literary counterpart of this projected unity the Chinese realistic novel presents a mythical and epic structure in which dream and history, individual and collective become one.  In Lukács the epic is contracted with the novel, because the latter is a form stripped of the former’s immediate and unproblematic unity of ideal and reality (56). &lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
In other words, the novel in the Western realistic tradition is troubled by the intrusion of time, which causes fractures in the epic, time-defying harmony between self and collectivity, dream and actuality.   But Lukács still insists that the novel is a kind of epic, because it strives to close the fissures created by the gap of time, hence potentially able to attain the epic status on a higher level. &lt;br /&gt;
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The gap between ideal and reality is minimized in the Chinese novel, which appears to be more epic than the realistic novel in the West.  The novel of revolutionary realism is closer to poetry, marked with tremendous lyricism, as Charles Laughlin notes with regard to the socialist sanwen in his essay “Incongruous Lyricism” in this volume.&lt;br /&gt;
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换句话说，西方现实主义传统小说因受到时间的侵扰而困扰，这种侵扰导致自我与集体、梦境与现实之间的史诗性、时间性和谐出现裂痕。但是卢卡斯仍然坚持小说也是一种史诗，因为小说试图对时间差造成的断裂进行修复，因此有潜在可能达到更高层次的史诗地位。&lt;br /&gt;
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在中国小说里，理想和现实的差距被最小化，中国小说看起来似乎比西方的现实小说更加具有史诗性质。革命现实主义小说更接近于诗，同时巨大的抒情性为标志，正如查尔斯·劳夫林在本卷文章“不协调的抒情诗”中提到的社会主义散文那样。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 14:48, 12 December 2020 (UTC)&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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It would not seem incongruous when lyrical exuberance, equated with revolutionary idealism and utopianism, is maximized in the novel as a way to transcend and close the gap between a historical time marked by imperialist invasions, sufferings, and poverty on the one hand, and the ultimate ideal of communism culminating in the epic harmony of ideal and reality, theory and practice, on the other.  The novel in this mode is supposed to be more than a text you read, curled up in your couch in a snowy winter night in solitary comfort.  It was ideological, educational, edifying, its grand narrative projecting material praxis.  It aimed to instigate you to go out into the streets or impoverished villages and get organized with other fellow humans to make history.&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
The rise of the essay in contemporary China is a sign that the novel in the epic mode has become an endangered species.  This is not merely the problem of genre, nor am I suggesting that readers are flocking to essays and abandoning novels.  My point is that the novel as a medium of envisioning social life and registering experiences of temporality is giving way to the essay, or more generally to the essayistic structure of sensibility.   I play with the idea of essayistic in order to refer to the essay as a canonical textual form as well as those discursive moments in other literary genres embodying an “essayistic” quality and a “prosaic” structure of feeling.&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
One crucial point to made is that this emotional structure accords with the everyday sensibility of a city-dweller and consumer.  This is one reason why it is instructive to contract the essayistic with the novel.  The essay deals with a prosaic and mundane world.  In Hayden White’s recapturing of Hegel’s distinction of poetry and prose, “The world in which prosaic utterance developed must be supposed to have been one in which experience had become atomized and denuded of its ideality and immediately apprehended significance, and voided of its richness and vitality” (87).This prosaic world of fragmented experience is to the Chinese novel as the Lukácsian novel is to the epic: a fall from an original oneness.  In contemporary China, neither the novel nor poetry seems to be a means of closing this widened gap.  My purpose in the essay is to examine the position of the essayistic in relation to the novel, and the related sensibilities in relation to history.&lt;br /&gt;
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关键的一点是，这种情感结构与城市居民和消费者的日常情感相符。这就是为什么说把散文家和小说联系起来是有益的。散文处理的是一个平淡且平凡的世界。在海登怀特对黑格尔的诗歌和散文的区分的重述中，他指出，&amp;quot;在散文性语句发展的世界里，经验已经被原子化，它的理想性和即刻领会的重要性被剥夺，它的丰富性和生命力丧失&amp;quot;（87）。这个由碎片化经验构成的散文性世界对于中国小说来说就像卢卡斯小说对于史诗的意义一样：从原始的单一性中堕落。在当代中国，无论是小说还是诗歌，似乎都不是弥合这一差距的手段。本文旨在考察散文家在小说中的地位，以及与历史相关的情感。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:39, 13 December 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
The Hegelian Marxist perspective I sketched earlier is helpful here for understanding the shift from the novel to the essay.  For Hegel art is necessary because it strives for a seamless, organic apotheosis of transcendent spirit and mundane reality.  This view, though historical, can lead to two contradictory conclusions.  In Hegel art is historical because it is a stage of the Spirit's journey to its self-realization.  As art evolves as historically transitory forms of the Spirit, the movement of history leads to the abolition of certain forms of art, or the demise of art altogether.  On this account the novel would be a casualty of the Spirit’s historical movement and self-realization.   For Hegel art becomes problematic and obsolete because the “world of prose” has attained the empirical form erstwhile aspired to by art.  In the world of prose, the Spirit has realized itself both in thought and in socio-political praxis, exemplified by the Prussian state.&lt;br /&gt;
我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得有疑问和过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。 在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:35, 13 December 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
The polity embodied by the Prussian state is for Hegel is the epitome of theory put into practice, a real image of realized art.  As Luckács remarked of Hegel, “Thus art becomes problematic precisely because reality has become non-problematic” (Lukács 17).&lt;br /&gt;
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Lukács, however, draws a contrary lesson from this historical, or more precisely the “end-of-history,” “end of art” thesis.  Taking issue with Hegel's view of art as “aestheticized” body politic, Lukacs argues that the problem of the novel is a mirror image of a world gone out of joint.  In modern times the novel is still alive as the impulse of art is still pressing.  The novel is aesthetically and epistemologically vital and necessary not because the established reality has achieved what art can only dream.  On the contrary, the novel is a desperate attempt to patch up a broken reality and inject little doses of meaning into a world emptied of spontaneous and totalisable significance.&lt;br /&gt;
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普鲁士国家所体现的政体是黑格尔是付诸实践的理论缩影，是现实艺术的真实形象。 正如拉克奇（Luckács）评论的黑格尔的那样，“正是因为现实变得没有问题，艺术才成为问题所在”（卢卡奇17）。&lt;br /&gt;
然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点得到了截然不同的教训。 卢卡奇对黑格尔将艺术视为“审美化的”身体政治的观点持怀疑态度，他认为这本小说的问题是一个脱离世界的镜像。 在现代，由于艺术的冲动仍在继续，小说仍然活着。 这部小说在美学和认识论上至关重要，并且不是必需的，因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:46, 9 December 2020 (UTC)&lt;br /&gt;
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对于黑格尔来说，普鲁士王国代表的政体是理论成为现实的缩影，是现实艺术的真正形象。正如卢卡奇(Luckács)评价黑格尔时所说的：“正是因为现实变得没有问题，艺术就成了问题所在。”（卢卡奇 17）&lt;br /&gt;
然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点中得到了截然不同的教训。卢卡奇不认同黑格尔“将艺术看作美学政体”的观点，他认为这部小说的问题是一个脱离世界的镜像。艺术的冲击力仍在继续，因此现代小说依然保持着其生命力。这部小说在美学和认识论上至关重要，这是必需的，并不是因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:59, 9 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
Therein lies its modern irony, the irony of dreaming the perfection of the world while knowing acutely the impossibility of perfection.  Interestingly, Lukács' insight into the ironic, self-reflexive nature of the novel provides a glimpse on the condition of the essay.  In the Chinese realistic novel, to be sure, the historical totality of communist utopia emerging out of a mundane reality is the shining symbol of inspiration, bearing a superficial resemblance to the Hegelian realization of Spirit in the state.  But the faith in the final triumph of communist utopia and the attainment of a fully emancipated society is presumed by the novelistic discourse as law-like and predetermined, hence realistic and inevitable.  Thus the decline of the novel, the novel in the epic mode, can be read as the decline of the grand, Marxist narrative of historical teleology.  In contrast, the rise of the essay harbingers a more fragmentary, disjoint, and private form of signifying practice that is springing up in the cracks and gaps of a fallen reality, a world out of joint.&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
The world out of joint is a compelling image of today's China going commercialized, globalized, and fragmented in all aspects of life.  The phrase “out of joint' here is meant to denote both the explosive vitality and disorienting chaos, the drama and trauma of the Chinese scene unfolding in the past decade.  To grasp China as a vast market place, a rising consumer society, an emergent culture of mass media and spectacles, I refer the reader to numerous reports by journalists, economists, and a vast number of essays written by writers who have recently turned to the personal essay as a forum.   Literature, as a historical vision and ideological apparatus, is hanging in the balance.&lt;br /&gt;
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脱节是当今中国在生活各个方面走向商业化、全球化和碎片化的一个引人注目的形象特点。在这里，“脱节”一词意指蓬勃发展的活力和令人困惑的混乱，以及过去十年中中国社会的戏剧性和创伤。要了解中国是一个巨大的市场，一个正在崛起的消费社会，一个新兴的大众媒体文化和奇观，我建议读者参考大量的记者、经济学家的报道，以及大量的文章，这些文章的作者最近转向个人文章作为论坛。文学作为一种历史的视野和意识形态的工具，悬而不保。&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 04:46, 10 December 2020 (UTC)Tang Ming&lt;br /&gt;
失控的世界是当今中国走向商业化、全球化和生活各方面碎片化的一个引人注目的形象。 这里的 &amp;quot;失控 &amp;quot;一词，既是指活力无限，也是指混乱不堪，以及过去十年中国社会戏剧性的创伤。 要了解中国这个庞大的市场、崛起的消费社会、新兴的大众传媒和文化奇观，我推荐读者阅读众多记者、经济学家的报告，以及近来转而以个人散文为阵地的作家所写的大量文章。  文学，作为一种历史眼光和意识形态的工具，正处于悬而未决的状态。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:59, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
Like many other spheres of culture, it has become commodified and entered the marketplace, being packaged into one more item in the mass media and entertainment industry.  This altered social context is crucial to understanding the essay as a literary form and a cultural medium of expression in contemporary China.  But this link between the culture of commodity and the essay, or the essayistic mode of writing and feeling, is not a brand new phenomenon of the last decade.&lt;br /&gt;
&lt;br /&gt;
For a tracing of the historical linkage we may turn to the earlier period in modern literary history.  Eileen Chang's essays and her reflection on the essay form are the compelling and successful instance of the marriage between the essay and mass culture.  Nicole Huang’s paper in this volume looks at some aspects of this marriage as manifest in Chang’s essay.&lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
This marriage finds its new manifestations in the work of the contemporary writer Wang Anyi, who is writing in a renewed urban context in many ways similar to that of Chiang.  An analysis of Eileen Chang's thinking on the essay will help us understand Wang's work.  Eileen Chang's views give the essay form a clear shape as it emerged in an urban and consumer culture.  Wang Anyi's essays and especially the essayistic moments in her fiction mark the return of this consumer-oriented genre under new historical circumstances.&lt;br /&gt;
&lt;br /&gt;
'''Eileen Chang and the Essay in the Urban Setting'''&lt;br /&gt;
&lt;br /&gt;
The story and essay writer Eileen Chang has been seen as one source for Wang Anyi's work.  Although Eileen Chang wrote fictions of urban life set in Shanghai and Hong Kong in a mixture of traditional and modernist styles, her writing is a sharp contrast and an antidote to the grand narrative of the May Fourth Enlightenment and revolution in modern Chinese literature.&lt;br /&gt;
&lt;br /&gt;
This view of Hegel's on art is evoked by Lukács in his preface to ''The Theory of the Novel'', 11-23.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
Her stories relish the irrelevancies, minor manias, trivia, and anxieties and depict random episodes of the urbanite's life.  The intriguing depiction of the narrow romance and personality of the petty urbanites, ''xiaoshimin'', is her forte and attraction.  The prose of life in a cramped and congested urban setting is not only the hallmark of her fiction, but also constitutes the major themes of her essays.  While her essays correspond to and illuminate her fiction, her thoughts on essay writing serve to highlight the aesthetic quality of the essayistic in modern Chinese literature. &lt;br /&gt;
&lt;br /&gt;
Eileen Chang's essay collection ''Floating Words'' (sometimes translated as ”Written on Walter”) is a compelling example of the essay as it emerged in Chinese urban culture.  In the opening essay entitled “The Child Utters his Words without Constraints” (Tongyan wuji) she equates her essays to the chatty, whimsical, and willful airing of pent-up feelings whenever and wherever she can, like an unrestrained child. &lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
Writers like her, she says, have little to do with earth-quaking, epoch-making historical events and should drop the dream of immortality attainable from self-portrayal by writing a popular autobiography.  The satisfaction and salvation for a writer are writing “bits and pieces about matters concerning oneself” (7).  The matters of self-concern, as Chang continues, include money, dress, eating, important personages and their grotesque undersides, and family relations.  Within a few pages of this first essay we have a range of sundry themes expressing interest in consumer habit, survival in the city, personal and social relations in an increasingly compartmentalized urban culture.  Running down the table of contents of this essay collection, we have trouble classifying what the essays focus on, except to say that they essay opinion and play around with perceptions just about anything in city life.  They touch upon whatever flickers through the mind, passes in view, appeals to the senses, any stereotypical or routine scenes or acts in the urban setting.&lt;br /&gt;
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她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯的兴趣，在城市的生存，个人和社会关系在一个日益分割的城市文化。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及任何在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:37, 10 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
&lt;br /&gt;
她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯，在城市中生存，在一个日益分割的城市文化中个人和社会的关系的兴趣。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及一切在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:17, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
There are, to give a taste of their randomness and miscellany, pieces about living in an apartment, beating up people, private and intimate words, shallow impressions about art, changing dresses, woman, rains, the umbrellas, even about a routine act of going upstairs.  &lt;br /&gt;
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While it is surely impossible to box these essays into a general category and abstract a unifying principle, Eileen Chang points beyond this charmed collection of essays to the grand historical narrative and thus provides a useful reference point for what the essay refuses to do.  If it is not clear what the essay is, Chang shows what it is not. She sees the essay in its withdrawal from and rejection of historical discourse and in its all-consuming absorption in the mundane and fragmented urban scenes.  The nature of the essay seems to lie in its irrelevance to history as a literary principle:&lt;br /&gt;
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为了展现他们的随意和杂乱，有很多关于公寓生活，打架斗殴，私密话语的碎片，对于艺术，服饰变换，女性，雨天，雨伞，甚至上楼这种日常动作的浅谈。&lt;br /&gt;
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当然这些文章不可能被归入一个大概范畴，从而抽象为一个统一的原则，但张爱玲在这本迷人的散文集之外，指出了宏大的历史性叙事，从而为这篇文章不能做的事情提供了一个有用的参考点。如果不明白某篇文章是什么，张会说明这篇文章不是什么。她认为这篇文章是对历史话语的回避和拒绝，是对世俗和支离破碎的城市场景的全身心地投入。这篇文章的本质似乎在于它与作为文学原则的历史无关：--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:00, 13 December 2020 (UTC)&lt;br /&gt;
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为了让人感受到它们的随意性和杂乱感，有关于公寓生活，打架斗殴，私密话语等碎片化场景，有关于艺术、换衣服、女人、雨、雨伞等浅薄印象，甚至有关于上楼的这种日常动作，都被记录下了。&lt;br /&gt;
&lt;br /&gt;
虽然肯定不可能把这些文章归入一个大类，抽象出一个统一的原则，但张爱玲却把这本充满魅力的文章集指向了宏大的历史叙事之外，从而为散文拒绝做的事情提供了一个有益的参考点。如果不清楚散文是什么，张爱玲就说明它不是什么。她看到了散文对历史话语的抽离和拒绝，看到了散文对平凡而零碎的城市场景的全盘吸收。散文的本质似乎在于，作为一种文学原则，它与历史无关。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:56, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
I have no desire to write history, nor am I qualified to make judgement on the historian's perceptions.  But privately I hope they would say more things that are irrelevant.  Reality as such is not systematic; it is like seven or eight chatter-boxes sounding simultaneously, creating confusion.  But amidst this incomprehensible sound and fury there occur moments of illumination, poignant and bright, enabling us to hear the tune and understand a bit, only to be swallowed up by the thickening darkness.  Painters, writers, and composers connect these chancy, fragmented discoveries and create artistic wholes.  (41)&lt;br /&gt;
&lt;br /&gt;
As a fiction writer Chang does not believe in artistic perfection.  She creates “imperfect” and flawed characters in her fiction, as she repeatedly claims.  In her essays she holds it important to write about the irrelevancies, for, as she proclaims, all life' charms are to be found in the irrelevancies. (42)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
Eileen Chang's thinking on the essay reflects certain aspects of Chinese modernity that provides a context for understanding the essay form as an increasingly prominent cultural medium.  The essay for her is a writing practice opposed to the historically oriented and politically charged literature, to the teleological historical narrative, and to the monumental work of art.  Formalistically the essay is random, self-contradictory, expressive, and therapeutic.  Eileen Chang's essays are a radical departure from Lu Xun's miscellaneous essay (''zawen'').  Despite its similarly disjoint, personal, and casual form, the ''zawen'' à la Lu Xun is polemic, militant, acid, socially and political engaged.  It seizes upon the small and transitory but its gaze goes past them to the culturally and historically significant.  This engaged character puts the ''zawen'' in a close lineage with the didactic tradition of May Fourth literature aimed at raising readers' consciousness or jolting them out of the half-sleep of tradition and convention.&lt;br /&gt;
&lt;br /&gt;
张爱玲对散文的思考反映了中国现代性的某些方面，这为理解作为日益突出的文化媒介的散文形式提供了一个语境。对她来说，这篇散文是一种与历史导向和充满政治色彩的文学、目的论的历史叙事和不朽的艺术作品相对立的写作实践。从形式上来说，这篇散文是任意性的、自相矛盾的但又富有表现力和治疗性。张爱玲的文章是对鲁迅杂文的彻底背离。尽管鲁迅笔下的“杂文”体现出类似的不连贯性、个人化和随意的形式，但它是论战性的、激进的、尖刻的、社会的和政治的。鲁迅的文章捕捉到的是渺小而短暂的事物，但其目光越过它们，投向其背后体现的文化性和历史性。这个引人入胜的特点将“杂文”与五四文学的说教传统紧密联系在一起，旨在提高读者的意识，试图将他们从传统和习俗的沉睡中唤醒。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 08:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
The rise of consumer mentality, urban culture, and the new role of the writer as a professional breadwinner brought to prominence the values of entertainment, charm, taste, performance, charisma, and glamour--values inherent to urban culture with a good appetite for entertainment, images, and spectacles.  This emergent socio-historical context was overshadowed and marginalized by the dominant political ideology and historical narrative in the decades after Eileen Chang's short-lived popularity. &lt;br /&gt;
&lt;br /&gt;
Andrew Jones of UC-Berkeley is at work to translate Eileen Chang’s essay collection into English and he uses the phrase “Written on Water.”&lt;br /&gt;
&lt;br /&gt;
In his recent book ''Shanghai Modern'' Professor Leo Lee has admirably traced Eileen Chang's writing and the commercial urban culture she was immersed in.  See the Chapter “Eileen Chang: Romances in a Fallen City,” 267-303.&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
In the 1990s and in Wang Anyi's work, this historical context re-emerged with sharpness and vengeance.  I will argue that the fate of the essay or the aesthetic quality of the essayistic cannot be understood without considering the revival of urban and consumer culture and its increasing detachment from the historical consciousness.&lt;br /&gt;
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'''Telling a Story Where There is no Story to Tell'''&lt;br /&gt;
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Wang Anyi's work in the 1990s shows how deeply the urban mass culture has penetrated and transformed literature.  The novel in the epic mode depends upon some preconceived story pattern which delivers ideological and historical convictions about temporal perceptions of past, present, and future.  One symptom of the shift from the novel to the essay is the acute sense of lack of story, the sense that the archetypal stories that writers used to rely on to generate their narratives are no longer convincing.&lt;br /&gt;
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20世纪90年代，在王安忆的作品中，这一历史语境以尖锐和复仇的笔触重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。&lt;br /&gt;
“在没有故事可讲的地方讲故事”&lt;br /&gt;
王安忆90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式提供了意识形态和历史信念，关于对过去、现在和未来的短暂感知。从小说到散文的转变的一个典型是故事的严重缺失，作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:00, 9 December 2020 (UTC)&lt;br /&gt;
----&lt;br /&gt;
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在20世纪90年代，以及在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。&lt;br /&gt;
“在没有故事可讲的地方讲故事”&lt;br /&gt;
王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:12, 9 December 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
For Wang Anyi this poverty of stories is directly linked to the urban setting.  The title of one of her essays on literature “The City Has no Story to Tell” (Chengshi wu gushi) highlights the disappearance of sharable, communicable narratives in the city's amorphous atmosphere and the anonymous urban crowd.  This essay makes quite clear the sociological transformations that have given rise to the generic shift from story to non-story, or from narrative fiction to the essayistic mode.  In it Wang sets up a contrast between the village community and urban social organization.  The tightly knit rural communities, such as villages and small towns, are the nurturing ground for sharable stories.  As the social relations are largely those of family, kinship or clan, human contact and communication are more intimate and primarily face to face.  Individuals act out their life stories in a pre-given trajectory and within a received social network of work, authority, and hierarchy.&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
The stories both told and lived, recounted over and again against a backdrop of traditional orientation and self-evident norms.  Traditional values and age-old customs shape the stories people tell each other and assure their intelligibility and guarantee cultural continuity.  In short, the temporal and spatial perceptions are inherited and sedimented over time and can be repeated in new stories. &lt;br /&gt;
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This argument about village community brings to mind Benjamin's critique of the modern novel and re-evaluation of the communal storyteller.  The village community is embedded in an inexhaustible fund of stories and exemplified by the culturally cohesive role of the storyteller.   Benjamin's familiar argument takes on new significance when the contract between village and city is construed as a metaphoric tension between the self-assured story-telling in the epic mode of the Chinese novel and the disappearance of the story in the city.&lt;br /&gt;
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这些故事讲述和生活，在传统取向和不言而喻的规范的背景下一遍又一遍地叙述。传统价值观和古老的风俗习惯塑造了人们相互讲述的故事，保证了故事的可理解性和文化的连续性。简言之，时间和空间的感知是随着时间的推移而继承和沉淀的，并且可以在新的故事中重复。&lt;br /&gt;
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关于乡村社区的论点让我想到了本杰明对现代小说的批判和对公共叙事者的重新评价。 乡村社区被埋在无穷无尽的故事基金中，并以讲故事者的文化凝聚力为例。 当乡村与城市之间的契约被解释为中国小说史诗模式中的自我保证的故事讲述与城市中故事的消失之间的隐喻张力时，本杰明的熟悉论点具有新的意义。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:54, 11 December 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
More importantly, the tension foregrounds the accelerated modernization process that has rendered almost obsolete, in less than a decade, the relatively habitual and time-worn socio-psychic infrastructure.  It brings into sharp focus the market oriented, amorphous urban setting where the individual becomes atomic individuals, cut loose from the social moorings of kinship, community, and family, from lineage and history.   Thrown into the competitive marketplace and transient impersonal relations, the individual has to rely on his or her own ingenuity and resources..   Since they come from different areas and are isolated from each other in the compartmentalized life spheres and specialized work, urban dwellers only have their own vastly different stories to tell, stories which are narrowly biographical and not readily meaningful to other people.  There are more stories to tell, it is true, but the apparent multiplication of stories imply the poverty of a communicable story.&lt;br /&gt;
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更重要的是，紧张局势预示着加速的现代化进程，在不到十年的时间里，这一进程几乎淘汰了相对熟悉的社会心理基础设施，现在它已显得陈旧不堪。这种局势给以市场导向的形势和未定型的城镇环境带来了极大的关注度，在这里，独立的个体变得微不足道，疏远亲属、社区和家庭关系，疏离血缘关系和历史关系。 人们被迫投入竞争激烈的市场，投身于短暂的没有人情味的关系里，他们必须依靠自己的天赋和资源。因为来自不同的地方，他们与彼此因生活领域和特定工作而相互隔离，住在城市的人只能说说关于自己的截然不同的故事，这些故事只限于谈论自己，所以对于其他人没有可读性，也无意义。的确，是有很多的故事可以说，但是故事的激增也暗示了好传播故事的缺乏。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:45, 13 December 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
This is what Wang means by saying there is lack of stories in the city.  The endlessly varied confusion and lack of common interest lead to disjoint, fragmentary, anecdotal, performance-driven forms of writing often found in essays written for the consumer's relaxed state of mind, or mindlessness after a nice dinner.&lt;br /&gt;
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'''From the Historical to the Essayistic: the Fall of the Intellectual'''&lt;br /&gt;
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Wang Anyi's ''The Story of Our Uncle'' illustrates the transition from the historically and ideological oriented literature to a form that could be characterized as essayistic. The novella was written in 1990, a time of drastic change for Chinese society and culture as a whole.  From a culture dominated by an ideologically oriented and centralized state China was moving quickly into a brave new world of frenzied economic development, investment, consumerism, and pop culture.  Something fundamental had drastically shaken the basic fabrics of Chinese society.&lt;br /&gt;
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这就是王先生所说的城市缺少故事的意思。 无穷无尽的各种困惑和缺乏共同的兴趣，导致了不连贯的、零碎的、轶事的、以表现为目的的写作形式，这些写作形式常常出现在为消费者轻松的心境而写的散文中，或者在一顿丰盛的晚餐后的无心之作中。&lt;br /&gt;
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'''从历史主义到文章主义：知识分子的堕落'''。&lt;br /&gt;
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王安忆的''舅舅的故事''说明了从历史性、意识形态性的文学向可称为散文性的形式过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、投资、消费主义和流行文化的勇敢新世界。 一些根本性的东西已经极大地动摇了中国社会的基本结构。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 12:26, 9 December 2020 (UTC)&lt;br /&gt;
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王安忆的''叔叔的故事''表明了文学的形式由历史导向和意识形态导向往散文导向的过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、充盈着投资、消费主义和流行文化的崭新世界。 一些根本性的东西已经极大地动摇了中国社会的基本架构。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:53, 12 December 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
''The Story of Our Uncle'' registered a very sensitive aspect of the epoch-making changes in China.  Rather than interpret this novella as a literary text, I will look at it as a document tracing a shift in literary and social history.  Focusing on a novelist's career, the novella delineates the qualitative shift in the value and function of literature in a time when ideology and politics were giving way to the market, economic development, and consumerism--all under the rubric of modernization.  From the vicissitudes of a writer we may see how the novel as a cultural form loses its ground and how literary sensibility shifts to the essayistic.  This generic shift provides a glimpse onto the fundamental social transformations in the 1990s.&lt;br /&gt;
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《我们叔叔的故事》反映了中国划时代变化的一个非常敏感的方面。与其把这部中篇小说解读为文学文本，不如把它看作是一部追溯文学和社会历史变迁的文献。这部中篇小说以小说家的职业生涯为主线，描绘了在意识形态和政治逐渐让位于市场、经济发展和消费主义的时代，文学的价值和功能发生了质的转变，所有这些均为响应现代化的号召。从一个作家跌宕起伏的人生经历中，我们可以看到小说作为一种文化形式是如何失势的，文学情感是如何转向散文主义的。这种常见的转变让我们看到了20世纪90年代的基本社会变革。&lt;br /&gt;
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Critics have noticed the presence of essayistic quality in Wang's writing, especially in her fiction.In ''The Story of Our Uncle'', one finds the essayistic prevailing over narrative.&lt;br /&gt;
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评论家们已经发现了王安忆散文创作的本质，这一特点在科幻小说中表现突出。在《我们叔叔的故事》中人们发现散文的比重多余叙事。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:47, 12 December 2020 (UTC)&lt;br /&gt;
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《叔叔的故事》记录了中国划时代变化的一个非常敏感的方面。与其将这部中篇小说解读为一个文学文本，不如将其视为一部追溯文学和社会历史变迁的文献。这部中篇小说以一个小说家的职业生涯为主线，描绘了在意识形态和政治让位于市场、经济发展和消费主义的现代化背景之下，文学的价值和功能发生了质的变化。从一个作家经历的沧桑巨变中，我们可以看到小说作为一种文化形式是如何失去地位的，文学感召力又是如何向散文主义转变的。这种普遍性的转变让我们看到20世纪90年代社会的根本性变化。&lt;br /&gt;
评论家们注意到了王安忆在创作的作品，尤其是她的小说中存在散文性。在《叔叔的故事》中，人们发现散文的成分多于叙事的成分。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
The text reads more like an essay-- rambling, random, analytical, disjoint, gossipy, chatty--than a straight narration, a fact acknowledged by the author herself.  In this narrative-essay a young writer on behalf of his generation attempts make a biographical assessment of an older writer they call our uncle.  One would be disappointed to expect an engaging action or dramatic story.  Though the text retains the outward, apparent shape of a novella it is a hybrid composed of diverse genres, with literary and art criticisms, gossip, conjecture, history, philosophizing, anecdotes, and stories all rolled into one.  The narrator suggests that this novella is an essay in the double sense of textual form and playful, explorative literary exercise.   He proclaims in the opening paragraph that this is a story assembled out of a hodgepodge of elements, and there is no way to distinguish truth from falsehood.&lt;br /&gt;
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这篇文章读起来更像是一篇散文——散漫、随意、有条理、絮絮叨叨、喋喋不休——而不是直接的叙述，这一点作者也承认。在这篇叙述-散文中，一位年轻作者代表他这一代人试图对一位他们称之为叔叔的老作家进行传记性评价。如果有人以为这会是一个引人入胜的行动或者一个戏剧性的故事，那么他就要失望了。尽管文本保留了小说的外在明显特征，但是它是一个由不同体彩杂糅成的混合体，集文学、艺术批判、八卦、猜测、历史、哲学、轶事和故事于一体。叙述者认为，这篇小说是一篇具有双重意义的散文，既有文本形式，又有充满游戏趣味和探索性的文学练习。他开篇就宣称，这个故事是各种元素糅合而成的大杂烩，无法区分真假。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:48, 12 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
“Many blanks need to be filled up with imagination and inference,” and the story is filled with “subjective coloring” (181).  The subjective, arbitrary, even whimsical character of the text is further associated, as the narrator notes, with the mode of production that writers have adopted as they are geared toward an emergent literary market.  Writers, the narrator says, are people who spend their time making up stories.  One day “we started circulating his (Uncle's) maxims.”  To the laborers like us the maxims are significant, for they are capital in commodity production and can produce surplus value, which can put back to expanded reproduction. ''The Story of Our Uncle'' is thus premised on fragmentary axioms, an arbitrary principle of composition, random fantasy, and the form of commodity.&lt;br /&gt;
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“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始传播他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的构成原则、随机的幻想和商品的形式为前提的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:54, 11 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始流传他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的创作原则、随机的幻想和商品的形式为前提的。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:53, 12 December 2020 (UTC)&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
In a strictly formalistic sense, Wang's text complies with the usual comments and generalizations on the essay as a literary form.  In Theodore Adorno's well-known essay entitled “The Essay as Form” we find numerous descriptions well suited to an analysis of the essay in the Chinese context.  Adorno pits the essay against the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural condition of reification.  The essay is envisaged as an ''enfant terrible'' or a serious playboy seeking the utopia space of the pleasure principle.  Thus the essay turns up its nose to the notions of totality, completeness, systematicity, the universal and the eternal.  It is marked by fragments, excessive fantasy and interpretation, exploration, and experiments.  Its supposed form is actually formlessness.  Abandoning the rigid conceptual schemata, it seeks and engages the object in its historical specificity and quotidian trivia.&lt;br /&gt;
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从严格的形式主义意义上讲，王的文本符合论文中通常的评论和概括的文学形式。 在西奥多·阿多诺（Theodore Adorno）著名的论文《作为形式的散文》中，我们发现了许多非常适合在中国语境下对论文进行分析的描述。 阿多诺将这篇论文与哲学的制度体系，科学实证主义的话语以及随之而来的社会文化条件化相提并论。 这篇文章被认为是“恐怖的婴儿”或寻求娱乐原则的乌托邦空间的严肃的花花公子。 因此，本文对整体性，完整性，系统性，普遍性和永恒性的概念大加赞赏。 它的特点是碎片，过多的幻想和解释，探索和实验。 它的假定形式实际上是无形式。 它摒弃了僵化的概念图式，而是以对象的历史特殊性和“琐事琐事”来寻找和参与对象。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:35, 10 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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从严格的形式主义上讲，王的文本遵循了对散文作为一种文学形式的评论和概括。在西奥多·阿多诺（Theodore Adorno）著名的论文《文章的形式》中，我们发现许多描述都很适合在中国语境下对这篇文章进行分析。阿多诺将该文与哲学的制度体系，科学实证主义的话语以及随之而来物化的社会文化环境相对比。人们将这篇文章设想为“恐怖的婴儿”或是一个严肃的花花公子在追寻享乐主义的乌托邦。因此，文章对整体性，完整性，系统性，普遍性和永恒性加以批判。该文碎片化，充斥着幻想，过度解释，探索性和实验性；没有预设的形式，摒弃了僵化的概念图式；追求写作的历史特殊性和日常性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:19, 10 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
While Adorno's comments are apt and in tune with much of Eileen Chang and Wang Anyi's musings on the essay, the philosophical framework in Adorno that the essay rebels against is different: the essay is up against the high-minded conceptual tyranny of Western philosophical tradition.  In the Chinese literary convention the essay is not so clearly defined against something so established.  Its polemic pole, I have tried to argue throughout this essay, is to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of revolutionary realism.  &lt;br /&gt;
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The essay is a literary exploration trying to break out of the conceptual and discursive straitjacket.  Adorno quotes Max Bense and says that the essay “is distinguished from a treatise:&lt;br /&gt;
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虽然阿多诺的评论很贴切，与张爱玲、王安忆对散文的很多思索是一致的，但散文在阿多诺那里所反抗的哲学框架是不同的：散文是与西方哲学传统的高高在上的概念暴政对抗的。 在中国的文学传统中，散文所反抗的东西并不是那么明确的。 我试图通过这篇文章论证：散文应被认定为启蒙运动和马克思主义的心学史范式及其文学的对应物：革命现实主义小说。 &lt;br /&gt;
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本文是试图突破观念和话语束缚的文学探索。 阿多诺引用马克斯-本塞的话说，散文 &amp;quot;区别于论著。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:00, 11 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
The person who writes essayistically is the one who composes as he experiments, who turns his object around, questions it, feels it, tests it, reflects on it, who attacks it from different sides and assembles what he sees in his mind's eye and puts into words what the object allows one to see under the condition created in the course of writing.  (17)&lt;br /&gt;
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The dropping of a grand, complete vision and opting for the incomplete, trivial, and the experimental are what makes for the essay.  The German word Versuch, attempt or essay, Adorno writes, is the place where “thought's utopian vision of hitting the bullseye is united with the consciousness of its own fallibility and provisional character” (16).  This “indicates . . . something about the form, something to be taken all the more seriously in that it takes place not systematically but rather as a characteristic of an intention groping its way” (16).&lt;br /&gt;
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See Wu Liang and Wang Anyi, “A Conversation on Reality and Fiction,” in Wang Anyi, Reality and Fiction (Jishi yu xugou) 325.&lt;br /&gt;
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Adorno, 3-23.&lt;br /&gt;
散文式写作的人是在实验中创作的人，他把客体转过来，质疑它，感受它，检验它，思考它，他从不同的角度攻击它，把他在脑海中看到的东西组合起来把客体在写作过程中创造的条件下允许人们看到的东西用文字表达出来。(17)&lt;br /&gt;
放弃宏大的、完整的愿景，选择不完整的、琐碎的、实验性的，是这篇文章的组成部分。德语单词Versuch，尝试或文章，阿多诺写道，是“思想命中靶心的乌托邦愿景与意识到自身的错误和临时特性相结合的地方”。这“表明……一些关于形式的东西，一些需要更加认真对待的东西因为它不是系统地发生的而是作为一种意图的特征去探索它的方式。&lt;br /&gt;
参见吴亮和王安忆《现实与小说的对话》，载于《王安忆:现实与小说》(季实余序购)325页。&lt;br /&gt;
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阿多诺,3-23。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:23, 13 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
An intention groping its way into the mysteries of the Uncle's life aptly describes the essayistic quality of Wang's novella.  As a text assembled out of disparate materials-- hearsay, gossips, and guesswork, fantasy, and conjecture, the narrative enacts a wide array of pre-given discourses and narrative patterns to grope at the “real” life of the Uncle.  These discourses and narratives are in their own turn commented on as objects of inquiry and critique on a “meta” level and treated as options in an experimental writing.  As an intellectual the Uncle is typical of hundreds of thousands others persecuted in the political campaigns whose suffering and re-instatement in the post-Cultural Revolution period is now a cliche.  But at the very outset the novella unpacks the myth of the suffering intellectual into forking paths of narrative.&lt;br /&gt;
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探索叔叔生活之谜的意图恰如其分地描述了王中篇小说的散文主义特质。作为一个由传闻、闲话、猜测、幻想和猜想这样不同的材料组合而成的文本,叙事中出现了大量预先设定的话语和叙事模式，以探索叔叔的“真实”生活。这些话语和叙述在“元”层面上作为探究和评判的对象被评论，并在实验性写作中被视为可选择的事物。作为一名知识分子，叔叔是在政治运动中遭受迫害的数十万人中的典型，他们在后文革时期的痛苦和恢复现在已成陈词滥调。但从一开始，这部中篇小说就把受苦知识分子的故事解构成了分岔的叙事路径。&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:28, 9 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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一种试图探索叔叔生活奥秘的意图恰当地描述了王的小说的本质特征。作为一篇由不同材料-道听途说，流言，猜测，幻想和猜想-拼凑而成的文本，叙事赋予了大量预先给定的话语和叙事模式，以摸索叔叔的“真实”生活。这些论述和叙述依次被评论为“元”层面上的探究和批判对象，并在实验写作中被视为选项。作为一个知识分子，叔叔是成千上万在政治运动中受到迫害的人中的典型，他们在后文革时期的痛苦和重生现在已经是老生常谈了。但从一开始，中篇小说就将饱受苦难的知识分子的神话展开，开辟了叙事的道路。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 9 December 2020 (UTC)&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
One can make up a narrative of the Uncle on his way to the place of exile, for instance, by recourse to a tragic-sublime scenario of political victims echoing Dostoevesky.  Riding in a beat-up truck drudging through the vast, snowy Siberian landscape in the Northwest plateau, the victim/hero would ponder the significance of life and fate with an elderly wise man.  One could also cast the Uncle in a lackluster, comic or even grotesque light, reduced to a mere creature of survival, trapped in a narrow village life.  Like thousands of other writers, Uncle was persecuted and exiled because of his writing.  But this fabled story of the tragic-heroic writer is again playfully retouched into three different versions by Uncles' own retelling after the fact.  In the first telling, his persecution is a political story, indicting the tyranny of the political system.  Then it is an existential story, intimating the mysterious and ironical workings of fate.Thirdly, it is a prophetic story, in the fashion of an Aesop fable, full of prescience and bodings of catastrophe.&lt;br /&gt;
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比如，人们可以利用陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔流亡的故事。主人公坐在一辆破旧的卡车上，在广阔的、被白雪覆盖的东北高原上艰难前行，和一位智叟一起思考生命的意义。同样，人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，一个在小村庄中艰难求生的人。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事经过叔叔的叙述后，被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度中的暴政。其次，这是一个存在主义故事，暗示着命运的神秘和讽刺。第三，这是一个预言性故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:15, 11 December 2020 (UTC)&lt;br /&gt;
比如，人们可以通过陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔去流亡地的故事。主人公坐在一辆破旧的卡车上，在广阔的、白雪覆盖的东北高原上艰难前行，他会和一位睿智的老人一起思考生命和命运的意义。人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，沦为一个被困在狭小乡村生活中的求生之物。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事在叔父们在事后的复述后又被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度的暴政。第二，这是一个存在主义的故事，暗示着命运的神秘和讽刺。第三，这是一个预言性的故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:26, 13 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
This intention groping its way into the Uncle's life draws upon various types of narrative patterns and aesthetic resources.  This is by no means a literary embellishment for pure rhetorical variety or pleasure.  The narration is saddled with the difficulties of understanding and getting the Uncle's life's straight.  The difficulty is not the usual generational gap, but reflects different historical experiences and memory that separate the young from the old.  This difference not only drives a wedge into the writers as a group, but also gives rise to the divergence of generic practice and the aesthetics informing it.  This divergence is the key to understanding the essay and the essayistic.&lt;br /&gt;
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进入叔叔生活的这种意图利用了各种类型的叙事模式和美学资源。 这绝不是纯粹的修辞变奏或娱乐的文学装饰。 叙述难于理解和理解叔叔的生活。 困难不是通常的代沟，而是反映了将年轻人与老年人区分开的不同的历史经验和记忆。 这种差异不仅使作为一个整体的作家成为楔子，而且引起了通用实践和为其提供信息的美学的差异。 这种差异是理解论文和论文论的关键。&lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 11:03, 11 December 2020 (UTC)&lt;br /&gt;
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这种对叔父生活的探索，借鉴了各种类型的叙事模式和审美资源。这绝不是一种纯粹的修辞变化或乐趣的文学修饰。故事的叙述充满了理解和理解叔叔生活的困难。困难不是通常的代沟，而是反映了不同的历史经验和记忆，把年轻人和老年人分开。这种差异不仅导致了作家群体的分裂，而且导致了一般实践和审美观的分歧。这种分歧是理解散文和散文家的关键。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:06, 11 December 2020 (UTC)&lt;br /&gt;
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这旨在用各种类型的叙事模式和审美资源探索叔叔的生活。这绝不是纯粹为了变换修辞或者获得乐趣而进行的文学修饰，而是叙述着理解叔叔生活的困难。困难不是普通的代沟，反映了年轻人和老年人的不同历史经历和记忆。这种差异不仅将作家群分裂开来，而且也导致了共性实践与传达共性实践的美学的分歧。这种分歧是理解散文和散文论的关键。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:27, 11 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
The older generation, having experienced political persecution and historical traumas at the first hand, is deeply grounded in a historical consciousness and a teleological narrative.  The Uncle is intensely committed to writing literature as praxis for social change.  His meteoric rise to the leading writer in the aftermath of the Cultural Revolution indicates that the position of what Gramsci called the “organic” intellectual remains strong, even thriving. The popularity of his novels shows that a work of literature can make a tremendous hit and is an effective medium for criticizing the flaws of the system and raising the social, political consciousness of readers.  It revives the legacy of the New Literature of May Fourth and is rightly re-baptized as the literature of the New Period (xin shiqi wenxue).  It is the voice of the farsighted and the vanguard in China's modernization drive.  Despite all his traumas and sufferings, the Uncle's generation, writers in their forties and over in the narrative time, remains firm in their belief in the organic totality of socio-historical process and the people's capacity in steering the course of history.  Literature is simply one vehicle that carries this historical mission.  &lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许晶==&lt;br /&gt;
The historical consciousness embodied by the Uncle is to find its corresponding form in an epic mode of writing: the realistic novel.  The Uncle's general outlook on the world is epic in the Lukácsian sense.  The young narrator captures this ''Weltanschauung'' very accurately: &lt;br /&gt;
&lt;br /&gt;
The political life of the past few decades has filled up his personal experience and life.  This enables Uncle to keep his worldview firmly anchored to reality and politics.  The state and government encompass the whole world for him and form the vast backdrop for human activity.  Patterns of people's behavior and conduct are but representatives of social life.  The concept of culture sounds very abstract and empty to him.  For him art should also perform real and political functions.  (214-215)&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
The young generation, in contrast, is not so firmly grounded.  Growing up in a period when the dominant ideology is in decline, they are left floating in the winds of various imported ideologies and newfangled isms.  Creatures of the newly emergent market and players of nihilistic intellectual fashions, they produce literature without any commitment to a socio-historical mission.  Literature is but a playful, aesthetic game unburdened with any responsibility and weighty purposes.  Art has become an artful, artsy activity, floating free of socio-historical grounding.  Literary activity to them means, more specifically, attending pen conferences, pursuing hot fashions, innovating fresh forms and tastes, brandishing new theories, making up sensational and marketable stories.  All this also leads to the enhancement of a writer's charisma and even sexual appeal.  Indeed, to the young generation it is old fashioned to see literature as having historical or social significance; literature becomes more and more sexy and commercial.&lt;br /&gt;
&lt;br /&gt;
==Xu Mengdie 徐梦蝶==&lt;br /&gt;
The story of the Uncle is an allegory of withdrawal from history and the dangers involved, exemplified in his crisis-ridden metamorphosis from a historically grounded writer to a playful artist, from novelist to essay writer.  The Uncle's earlier success thrusts him to the status of literary celebrity and stardom: he becomes a prominent figure in the media.  As the younger writers pursue fashions and cater to new consumers with playful, entertaining, artsy literary goods, the Uncle feels the need to catch up.  His new position as a glamorous writer allows him to become a globetrotter.  At the invitation of literary and academic circles and literary institutions around world eager to know a newly opened China, he journeys from country to country giving talks and socializing at literary cocktail parties.  Increasingly, sightseeing and superficial impressions of exotic foreign countries become the only materials he can summon: he becomes a tourist and a writer of travelogue.&lt;br /&gt;
叔叔的故事寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。叔叔的早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，叔叔觉得自己也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:37, 10 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
Going along with the role of a player in an increasingly cosmopolitan, global, and consumer oriented literary market is a new philosophy of writing, which favors a showy, playful, essayistic quality at the expense of the epic, social and historical.  The Uncle is reborn, the younger narrator rightly observes, into a new life, and into an enclosed new realm of pure artistic creativity.  He addresses serious social problems playfully in the style of black humor and through anachronistic narrative techniques.  He becomes more and more detached from the grave political issues of the day.  His new outlook is derived from a purely aesthetic principle.&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者正确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:35, 9 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者恰好观察到，文叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:50, 9 December 2020 (UTC)&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和随笔性。年轻的叙述者精确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭式的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，戏谑般地处理严重的社会问题。他与越来越疏远当今严肃的政治问题。他的新观点是由纯粹的美学原则衍生而来。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 02:21, 10 December 2020 (UTC)&lt;br /&gt;
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不断扩张的都市化，全球化，顾客为导向的市场，一种新的写作理念应运而生，它以牺牲史诗性，社会性和历史性为代价，追求炫耀性、趣味性、和散文性。年轻的叙述者恰好观察到，文叔再生了，他进入了一个新的生活，进入到一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和 不合时宜的叙述技巧，玩笑般的对待严重的社会问题。他与当今严重的的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:36, 11 December 2020 (UTC)&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
Emptied of historical substance and filled up with fragmentary and rambling impressions in his global trips, both life and writing of the Uncle thin out into personal, irrelevant, discontinuous fragments.  His writing begins to take on the essayistic quality, and borders on sheer images or simulacra, getting closer and closer to those of the younger generation.  Real human relations are “only a literary conceit.” (227), he echoes the younger generation.  Within the aesthetic shelter the “Uncle can no longer become excited or moved and is immune to suffering.”  Tragic suffering is now only a literary category, and “the awareness of this is the hallmark of Uncle's becoming a pure writer” (225).  Parallel with this essayistic quality is the Uncle's changed life style.  His is more taken with things he would have considered vulgar, low, or quotidian;&lt;br /&gt;
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生活和写作都被历史的内涵掏空，随之被全球旅行中的零碎和漫不经心填满，让叔叔自己变成了个人的、无关紧要的、不连续的碎片。他的写作开始有了散文的气质，并接近于纯粹的影像或模拟，越来越接近年轻一代的人。真实的人与人之间的关系“只是一种文学上的臆想”。(227)，他与年轻一代遥相呼应。在审美的庇护下，“大叔再也不能变得兴奋或感动，而且对苦难免疫”。悲剧性的苦难现在只是一个文学范畴，“对这一点的认识是大叔成为一个纯粹作家的标志”（225）。与这种文章化特质并行的是大叔的生活方式的改变。他的更多的是对那些他认为庸俗、低级、庸常的东西的接受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:11, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
he becomes more listless and yuppish.  He has developed a strong interest in women and sexual intrigues and conquests; he indulges in vulgarity and trivial pursuits, exulting in money and showy, exotic collectibles.  In short, he metamorphoses from an image of the epic novelist and organic intellectual to a middle class, professional writer, whose favored form is the essay and whose lifestyle takes on the “essayistic” quality of a ramble for self-pleasure.&lt;br /&gt;
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The transformation in the Uncle reflects the retreat of literature from a historically grounded medium to a form light-hearted, playful entertainment and a theatrical performance.  The problem with this change, as the novella's ending suggests, is that it is self-deceptive.  Despite the Uncle's willful creation of an aesthetic cocoon, history manages to intrude in the end as return of the repressed, in the person of his murderous son.  His son embodies all the painful memory and disgraceful experience of the Uncle's life, unfit for the epic treatment in his novels and repressed in his ethereal, airtight, essayistic experiments. &lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
The son's attempted murder of his father signifies the revenge of a history that the Uncle is trying to shut off from the serene, trouble-free aesthetic realm.  Our concern, however, is not with the interpretation of the story per se, but with the way the Uncle's fate indicates the shift in literary form.  If the Uncle's story apparently traces the trajectory of a novelist to a writer who not only writes travelogues and essays but also is imbued with essayistic sensibility, then the essay in contemporary China is a release from the epic form of writing and historical discourse.  It is a release into the literary market and consumer taste, a response to the pervasive secularization of life and rising consumerism.&lt;br /&gt;
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儿子企图谋杀他父亲的行为象征着一段历史的复仇，而这段历史是叔叔试图将其与宁静、无烦恼的美学领域隔离开来的。然而，我们关心的不是故事本身的解释，而是叔叔的命运如何预示着文学形式的转变。如果“叔叔”的故事明显地将小说家的轨迹追溯到一个作家，他不仅写游记和散文，而且充满了散文情感，那么当代中国的散文就是从史诗形式的写作和历史话语中解放出来的。这是对文学市场和消费品味的释放，是对生活普遍世俗化和消费主义抬头的回应。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:59, 9 December 2020 (UTC)&lt;br /&gt;
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儿子企图谋杀他的父亲这一行为象征着一段极具历史意义的复仇，叔父试图从宁静、无忧无虑的美学领域中脱离出来。然而，我们的关注点不在于对故事本身的解读，而是叔父的命运如何预示着文学形式的转变。如果说《叔叔的故事》追溯了一个小说家转变为作家的轨迹——在写游记和随笔的同时，倾注了散文式的细腻情感——那么当代中国的随笔就是史诗写作和历史话语的一种释放。这是对文学市场和消费者口味的一种释放，是对无处不在的生活世俗化和消费主义抬头的回应。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:02, 9 December 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
It comes as the image of a loosening up of the previous, ideologically controlled life, which is now becoming more private, more disjoint and fragmented, more removed from the totalistic social and political process.  Yet history has not become the simulacrum to play with, as envisioned by the younger narrator or the Uncle himself as he catches up with the fashions.  China’s social reality does not square so nicely with the essayistic playfulness one may wish.  Thus the essay as a cultural form is caught in a tension between withdrawal from the burden of history and the possible return of the repressed.  &lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
'''Mulish Essays: the Genre of ''Zawen'' in Contemporary China&lt;br /&gt;
'''&lt;br /&gt;
&lt;br /&gt;
''Mary Scoggin''&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? This paper illustrates the trope of tone through the particularly ,sonorous' work of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his ''zawen''. The distinct and beleaguered social and cultural space for ''zawen'' in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, ''zawen'' depends upon something within the earthy noise of moody, mulish voices to carry its messages. Like most poetry, but unlike most fiction and drama, ''zawen'' is itself a first person voice, not a representation of voices.&lt;br /&gt;
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拗口的文章：当代中国“杂文”的体裁&lt;br /&gt;
&lt;br /&gt;
玛丽·斯高格&lt;br /&gt;
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文章中的语气是一种讽刺的修辞手法;你怎么能通过印刷的油墨来引导声音中所携带的东西呢?本文通过邵云翔的《诗文》来说明这种修辞手法。邵云翔是一位官方诗人，他退休后以将诗歌化为论战体的杂文而闻名。在当代中国，“杂文”独特而又备受围攻的社会文化空间，揭示了“调”在汉语写作中的机制、意识形态和意义。与其他文学体裁相比，“杂文”更依赖于泥土般的喧嚣、忧郁、固执的声音来传达它的信息。像大多数诗歌一样，但又不像大多数小说和戏剧，“杂文”本身是第一人称的声音，而不是声音的代表。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:36, 12 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, ''zawen'''s ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can find their seat and sit in it, or take offence. While readers love and hate their morally and politically provocative ''zawen-of-the-moment'', writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. &lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
Eventually they even preserve ''zawen'', long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the ,dagger and spear' is thus not only a sly political weapon, but also a complex sculpture of the self, chiseled by the cantankerous tones of social dialogue.&lt;br /&gt;
&lt;br /&gt;
In contemporary textbooks and manuals of Chinese essay composition, the “miscellaneous essay,” [literally, “mixed essay,” referred to as ''zawen'' hereafter] is presented as a particularly “Chinese” essay genre within a global view of universal literary categorization.&lt;br /&gt;
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杂文中的典故，笑话和挖苦的细节常令人茫然，在这些细节被人遗忘之后，“杂文这一体裁最终得以保存”， 读者经常将自身职业价值汇编成一些小册当做是自己的离散描述杂文，然后将分小册发给朋友和仰慕者。 因此，鲁迅的“匕首与长矛”流派不仅是狡猾的政治武器，而且是复杂的自我雕塑，为社交对话的残酷语调所勾勒。&lt;br /&gt;
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在当代中国散文写作的教科书和手册中，“杂文”（直译为“杂文”，以下简称杂文）在全球普遍文学分类的全球视野中被视为一种特别的“中国”散文类型。 --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)&lt;br /&gt;
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最终，作者们甚至能在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，仍然保留着&amp;quot;杂文&amp;quot;。他们常常把自己职业生涯的价值编成小本子，作为自己的话语肖像送给朋友和仰慕者。因此，鲁迅的 &amp;quot;匕首和长矛 &amp;quot;流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。&lt;br /&gt;
在当代中国散文的教科书和手册中，&amp;quot;杂文&amp;quot;[字面意思是 &amp;quot;杂文&amp;quot;，以下简称杂文]被作为一种极具 &amp;quot;中国性&amp;quot;的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 06:19, 11 December 2020 (UTC)&lt;br /&gt;
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最后，在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，他们甚至仍然保存着杂文，常常把他们职业生涯的价值编成小本子，作为自己的语录送给朋友和崇拜者。因此，鲁迅的“匕首和长矛”流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。&lt;br /&gt;
在当代中国作文的教科书和手册中，“混杂的文章”，【字面意思是“杂文”，以下简称杂文】被作为一种特别“中国”的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:16, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
Lu Xun, the genre's initial back-handed champion, quipped sardonically that although he searched the standard encyclopedia thoroughly, he was unable to locate the genre of “tsa-wen” in any authoritative foreign classification.  Lu Xun's sarcasm includes both defiance and self-conscious uneasiness about a writing practice that Chinese circumstances, he felt, rendered peculiar and unseemly upon a world stage.  Compare the comments of a recent critic of ''zawen'':&lt;br /&gt;
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In Chinese affairs, there is a strange phenomenon that has held true until the present time, and that is; the value of any certain thing has to be established by a foreigner or by some common foreign publication.&lt;br /&gt;
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鲁迅是这一文体的最初的反对者。他曾讽刺说，他翻遍了标准的百科全书，但在任何权威的外国分类中都找不到 &amp;quot;tsa-wen &amp;quot;这一文体。 鲁迅的讽刺既有对一种写作方式的蔑视，也包含了自觉的不安，他认为中国的环境使这种写作方式在世界舞台上变得奇特而不雅。 比较最近的一位批评家对''杂文''的评论：&lt;br /&gt;
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在中国的事务中，有一种奇怪的现象一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 01:56, 11 December 2020 (UTC)&lt;br /&gt;
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鲁迅一开始就反对这一文体。他曾讽刺道，即使翻遍了标准的百科全书，也无法在任何权威的外国分类中都找到 &amp;quot;tsa-wen &amp;quot;这一文体。 鲁迅的讽刺既含有对这一文体的蔑视，也带着一丝不安，他认为中国当时的环境让这一文体在世界舞台上变得奇特而不雅。 比较一位批评家对''杂文''最近的评论：&lt;br /&gt;
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在中国，有一“怪象”一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:07, 12 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
As for this thing called modern Chinese ''zawen'', because its Chinese characteristics are too strong, Westerners truly have a hard time understanding them, and thus have difficulty in researching this subject...  the American writer Pearl Buck said something like: 'this thing called ''zawen'' is too peculiar, you really cannot understand it.'  That is why only Chinese people themselves can evaluate this phenomenon called zawen.  (Yan Xiu in Zhang Hua [all translations by Scoggin unless otherwise noted])&lt;br /&gt;
In this passage, Yan Xiu, an eminent writer and critic, articulated Lu Xun's defiance of the foreign authority to categorize essay genre in a relatively explicit way, while also maintaining a typical ''zawen''-esque playfulness of style.  He continues his commentary;&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
But we do not need to worry about this long period of neglect in which foreigners do not recognize ''zawen.''  Even if a foreigner were to burst his/her mind researching Chinese zawen, I am afraid that they would not be able to research anything out of it even if they researched themselves flat broke and starving.  But Chinese people all understand them easily.  If they were not able to maintain the abiding appreciation and understanding of Chinese readers, this practice would have been lost.  The historical reasons and significance for the creation and propagation of ''zawen'' in China are worth serious research and theorizing (ibid.).&lt;br /&gt;
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Bravely dismissing the risk of bankruptcy, I do propose to research and theorize the culture of this funny genre of essay in all of its supposed inscrutability.&lt;br /&gt;
但是，我们不必担心长期以来外国人不承认杂文。虽然外国人来研究研究中国的杂文会大打折扣，因为他们无法研究其中的任何内容，尽管他们也研究自己的破产和饥饿。但杂文对中国人来说都很容易理解。 如果外国人不能保持对中国读者的长期欣赏和理解，这种事情便会不复存在。在中国创造和传播杂文的历史原因和意义值得认真研究和理论化（同上）。&lt;br /&gt;
虽然没有了破产的风险，但我真的建议去研究和论证这种有趣论文类型的文化，因为它具有所有假定的不可理解性。&lt;br /&gt;
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 02:26, 12 December 2020 (UTC)&lt;br /&gt;
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但我们不必担心这种外国人长期不承认杂文的情况。即使一个外国人产生了其研究杂文的心思，恐怕他们自己研究得身无分文，饿死也研究不出来什么。但中国人都很容易理解他们。如果他们不能保持中国读者对他们的欣赏和理解，这种做法就会失传。杂文在中国产生和传播的历史原因和意义，是值得认真研究和理论化的（同上）。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:48, 13 December 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
One ubiquitous characterization of zawen from textbooks and manuals is built upon the metaphor of the mule. This metaphor suggests a number of qualities, including hybrid vigor and strength, stubborn bad-temper, and resilience in the face of obstacles.  Mules kick, spit and bray with distinctive exuberance.  ''Zawen'' are often considered an awkward combination of “part-poetry, part politics” (Lin).  Cross-bred traits extend the qualities of a mule; ''zawen'' are bred to toil at the most difficult of human labor, they are strong, hard-working and rather famously unloved creatures, best known for their expressive obstinance.  &lt;br /&gt;
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So how does an essay kick, spit and bray?  In Chinese theoretical discussion of ''zawen'' the metaphor moves from kinetics to sound; ''zawen'''s kick is located in its “tone,” a term taken from music, although the sound here is can be distinctly unlovely.&lt;br /&gt;
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从教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻暗示了一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的弹性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。&lt;br /&gt;
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那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:44, 11 December 2020 (UTC)&lt;br /&gt;
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教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻表明了它的一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的耐性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。&lt;br /&gt;
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那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:49, 13 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
Elsewhere I have examined the function of “tone” through the lens of the published record of debate over tone between literary editors (see Scoggin 2001).  I have posited the idea that approaches to writing ''zawen'' fall into two interdependent strategies, one overt and one covert, both blending the tactics of politics and poetics in perfect measure.  Overt ''zawen'' are relatively bold and obvious in their churlish tone, reflecting confidence in a tolerant audience.  Covert ''zawen'' are sometimes difficult to identify, disguised or hidden within other genre of writing, but still drawing upon the distinctive tones of ''zawen'' through intertextuality and other tricks.  &lt;br /&gt;
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Below, I examine the mechanics of ''zawen'' tone through contrasting these two style of ''zawen'' issuing from a single pen, that of poet and noted ''zawen'' writer Shao Yanxiang.&lt;br /&gt;
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在其他地方，我通过已发表的文学编辑之间关于语气的争论记录（见Scoggin 2001）来考察“语气”的功能。我认为，杂文的写作方法可以分为两种相互依存的策略，一种是显性的，另一种是隐性的，两者都是政治策略和诗学策略的完美结合。公开的杂文相对大胆和明显的粗鲁语气，反映出对一个宽容的观众的信心。隐性扎文有时很难识别，伪装或隐藏在其他文体中，但仍然通过互文性和其他技巧利用扎文的独特音调。&lt;br /&gt;
下面，我通过对比诗人、著名杂文作家邵燕祥这两种杂文的风格，来探讨杂文声调的形成机制。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:34, 13 December 2020 (UTC)&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
The two essays discussed below form opposites sides of a spectrum of variable transparency, and vastly differing publishing circumstances, although they were composed only months apart by the same individual, one before and one after a specific political event in China.  I argue here that unifying the two ''zawen'' is a particular subset of modal tropes, qualified as the verbal equivalent to a mule's kick, bite or bray.  The expression of this unclearly delineated but distinctive subset of modal tropes is the single central mission of ''zawen'' as a genre in Chinese literature and society.  Chinese theoretical debates over “tone” specifically address the function of this kind of modal trope. While sometimes as bald and direct, as in the overt ''zawen'' “Pei pei pei! ”?discussed below, many zawen conceal their weapons, depending upon contextual circumstances of publishing to pack their punch, as does the essay “East Station,” also discussed below.&lt;br /&gt;
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下面讨论的这两篇文章形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章是由同一个人撰写的，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸”?中，许多杂文隐藏他们的武器，根据发表的语境环境进行重击，正如文章《东站》，也将在下面讨论。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:09, 9 December 2020 (UTC)&lt;br /&gt;
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下面讨论的这两篇文章从相反的角度形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章由同一个人撰写，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸！”?中，许多杂文隐藏起他们的武器，根据发表的语境环境进行重击，正如将在下面讨论的文章《东站》。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 11:34, 9 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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Both types of ''zawen'' should be read “ethnographically,” in concrete social and historical circumstances.  After covering some of the primary textual elements of ''zawen'', I will demonstrate the significance of more subtle contextual gestures of ''zawen'', which must be read out of the process of submitting and publishing ''zawen''.  Through the contrast of these two essays, I will explicate and generalize about the formation and mechanics and of tone in modern Chinese literary history, and offer a thesis upon the reception of Chinese literature in Western scholarship as well.&lt;br /&gt;
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杂文的两种类型都应该置于具体的社会和历史环境下，以“民族志”的方式解读。在介绍杂文一些基本的文章要素后，我会揭示杂文更细微的语境姿态的意义，而这个只能从提交和出版杂文的过程中解读出来。通过对比这两篇文章，我会我将对中国现代文学史上基调的形成、机制和基调进行阐述和概括，并就西方学术界接纳中国文学这件事发表一篇论文。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:05, 9 December 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
An Demonstrative Sample – “'Pei Pei Pei!'?”&lt;br /&gt;
''&lt;br /&gt;
A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say.  He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there should be no more “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. (Shao 1993, 181)&lt;br /&gt;
So begins an essay entitled “呸呸呸!”? composed in February of 1989.  I will return to the circumstances of publication shortly, but first I will demonstrate the trope of tone through this representative sample ''zawen.&lt;br /&gt;
''&lt;br /&gt;
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一个“呸呸呸！”的示例&lt;br /&gt;
一个文学圈外的朋友让我给他找来一些呸呸呸的文章来读一读，我只好面无表情地看着他，无话可说。他就解释说，他在报纸上看到某省领导在一次宴会上宣布，各地不应再说“呸！呸！呸！”了，所以很明显到处都在说呸！呸！呸！。(邵1993，181) 1989年2月创作的一篇题为《呸呸呸！》的文章是由此开始的。关于发表时的情形，我将在不久后再谈，但首先我会通过这篇有代表性的杂文样本来解释语气的特例。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:26, 13 December 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
A word like “Pei!” contains what we can call a modal trope, a figure of speech that captures mood and emotion, expressing not only subjunctive or declamatory mood, as adverbial modal tropes such as “could” and “should” may do in English, but also more subtly embedded mood in the semantics of lexical items (the meanings in words) expressing outrage, joy, command, sarcasm, threat, pathos, irony (Friedrich, 30-32).  Usually modal tropes work together with other functions of language but in the case of “pei!” the modal trope is more nearly pure, it stands primarily for the emotional tone it communicates.  A parallel sample in English might be something like “tut, tut, tut!” although “tut” fails to pack the censorious reproach of the Chinese “pei!”&lt;br /&gt;
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像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的心情和情绪，不仅表达了虚拟语气或宣告语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦的词汇项（单词中的含义）的语义中，用以表达命令，讽刺，威胁，悲伤，讽刺的情感（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。一个类似的英语例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:07, 12 December 2020 (UTC)&lt;br /&gt;
像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的语气和情感，不仅表达了虚拟语气或感叹语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦、命令、讽刺、威胁、伤感、反讽的词汇项（单词中的含义）的语义中（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。英语中一个类似的例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:39, 12 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
In the case of this title, modal functions are reinforced by several formal tropes.  Note the repetition (three pei's!) and the complex punctuation consisting of an exclamation point and a question mark, separated by quotation marks.  In the case of “Pei pei pei!”?, the ''zawen'''s own voice is not the primary expression of the tone of disgust.  The quotation marks invoke disgust only to distance it, while the question mark further challenges it.  The title alone demonstrates modal function with very little distraction; one character, two repetitions and three punctuation marks move this title in several modally intense directions at once with almost no referential content at all.&lt;br /&gt;
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就此标题而言，几个正式比喻加强了情态功能。注意引号将”呸！呸！呸！“以及由一个感叹号和一个问句组成的复杂标点分离开来。在”呸呸呸“的例子中，厌恶的语气并不主要是由”杂文“本身表达出来的，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:32, 12 December 2020 (UTC)&lt;br /&gt;
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就此标题而言，几个正式比喻加强了情态功能。注意重复“呸！呸！呸！”以及由一个感叹号和一个问句组成的复杂标点分离开来。在“呸呸呸”这一例子中，厌恶的语气并不主要由“杂文”本身表达，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:20, 12 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
“Pei pei pei!”? performs a transparent metadiscursive comment upon ''zawen'', in this case defending the extracurricular genre favored by declasse intellectuals like Shao Yanxiang, himself, a “retired” poet who had resigned with bitterness from his career at the central Chinese poetry journal ''Shikan'', and devoted his post official career to writing zawen.  Upon learning of this unnamed “provincial leader's” complaint about “pei pei pei”-ing, and sensing that he himself bore some responsibility for this reportedly lamentable state of affairs, Shao writes that he discovered that the provincial leader had indeed characterized a kind of caustic, sarcastic disparaging discourse about the party, the nationality and the people, as “pei pei pei-ing all over the place” and that he had further warned that this kind of talk was spreading a mood of despair and hopelessness. &lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
In the remainder of this essay Shao ridicules said provincial leader's complaint as circular, admitting no culpability on the part of his own fellow ''zawen''-writing social critics. &lt;br /&gt;
 &lt;br /&gt;
The tone of “Pei pei pei!”? is that of pointed irony, expressed recursively upon three levels.  The first level is located in the words themselves, including the use of “pei” I have described above.  This “first order” irony, as I have described it (Scoggin 1997), is an elementary type of sarcasm, a part of the conventional rhetoric of any language, written or spoken, and not usually misunderstood by a competent interpreter.&lt;br /&gt;
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在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。&lt;br /&gt;
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“呸呸呸”的语气是尖锐的讽刺，递进的传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员误解。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:34, 12 December 2020 (UTC)&lt;br /&gt;
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在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。&lt;br /&gt;
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“呸呸呸”的语气是尖锐的讽刺，以递进的方式传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员所误解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:46, 11 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
Other examples of this level of tone in  “Pei pei pei!”? would include the attitude of “stupidity” Shao Yanxiang assumes when he claims that he looks for pei pei pei ing “all over the place” but cannot find any at all, and the repeated use of expressions he lifted from the pointedly unnamed “provincial leader's” talk, including the primary charge of “mockery, sarcasm and scornful dismissal” Shao is refuting, and also the leader's assertion of  “discipline and rectification,” which Shao has skillfully turned into a counter charge.  &lt;br /&gt;
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A second level of irony requires contextual knowledge on the part of the reader.  This includes assumptions that would be obvious to most readers.&lt;br /&gt;
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“呸呸呸!”？中这种程度的语气的例子包括，邵彦祥在“到处”寻找呸呸呸，却一无所获时所采取的“愚蠢”的态度，以及他从完全不知名的“省级领导”的谈话中反复使用的表达方式，包括主要的“嘲笑、讽刺和轻蔑的解雇”，邵逸祥反驳道，还有领导对“纪律严明”的断言，邵巧妙地把这句话变成了反击。&lt;br /&gt;
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第二层次的反讽需要读者的语境知识。这包括对大多数读者来说显而易见的假设。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:03, 11 December 2020 (UTC)&lt;br /&gt;
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“呸呸呸！”中这种音调水平的其他示例吗？其中包括”愚蠢”的态度，邵燕翔宣称当他在“到处”寻找呸呸呸的时候，却在哪儿也找不见它了，以及从完全不知名的“省领导的”的讲话中，他指出了那些重复的使用，包括邵伟反驳的主要指控“嘲弄，嘲讽和轻蔑”，以及领导人对“纪律和整顿”的主张，邵伟已巧妙地将其反驳。&lt;br /&gt;
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第二层次的反讽需要需要该部分读者的语境知识。这包括了对于大多数读者来说都显而易见的假设。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 13:06, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
For example, Shao Yanxiang claims that he has never heard of the idea that “literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.”  But just such a position has clearly been long-standing socialist policy for many kinds of public writing, including media news and literature.  References to historical events in terms like the cultural revolution tones of “newspaper [published] by all the people” and Han Shaogong's controversial Post-Mao short story “Ba Ba Ba” fall somewhere in between the first and second levels of ironic tone.  &lt;br /&gt;
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A third level, which I have labeled “indexical irony,” makes use of immediately contextual information such as the actual publishing outlet of the essay (in this case, the mainstream ''Literature Journal'' essay column “Literature and the People's Lives,” which Shao mentions at the end of the article) and Shao's own writing persona.&lt;br /&gt;
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例如，邵彦祥声称他从未听说过“文学出版物应在稳定人民思想，增进信仰，不使人民意志消沉方面有所帮助”这一思想。 但是，这种立场显然已经成为包括媒体新闻和文学在内的许多公共写作的长期社会主义政策。 对历史事件的引用，例如“全民[报纸]的文化大革命”和韩少功备受争议的毛泽东短篇小说“八八八”，都介于第一和第二讽刺语调之间。&lt;br /&gt;
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第三个层次，我称之为 &amp;quot;索引性反讽&amp;quot;，利用文章的实际出版渠道（在这里，邵在文章结尾提到的主流''文学报''散文专栏 &amp;quot;文学与百姓生活&amp;quot;）和邵自己的写作人设等即时语境信息。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:13, 9 December 2020 (UTC)&lt;br /&gt;
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比如，邵燕祥声称，他从来没有听说过 &amp;quot;文艺刊物要对稳定民心、增加信仰、不挫伤民心意志有帮助 &amp;quot;的观点。 但就这样的立场，显然是包括媒体新闻和文学在内的多种公开写作的长期社会主义政策。 像 &amp;quot;全民办报（出版）&amp;quot;的文革调子和韩少功的争议性后毛短篇小说《巴巴》等词语对历史事件的提及，都属于第一和第二层次的反讽调子。 &lt;br /&gt;
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第三层次，我称之为 &amp;quot;索引性反讽&amp;quot;，利用文章的实际出版渠道（在这里，邵逸夫在文章结尾提到的主流''文学报''散文专栏《文学与人民生活》）和邵逸夫自己的写作人设等即时语境信息。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:17, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
''Zawen'' often make extensive use of this third, intimately contextualized level.  In this case Shao claims that he can find no “pei pei pei” articles, but many readers would recognize that he himself is well known for writing ''zawen'' that would certainly qualify.&lt;br /&gt;
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In “Pei pei pei!”? Shao Yanxiang has deliberately sought out an accusation that he then counters with withering acerbity.  Complaint, combat and disgust are just the beginning of the range of contentious moods that ''zawen'' represent.  ''Zawen'' accuse, retaliate, needle, and snarl; but as I will demonstrate shortly, they can also moan and sigh with considerable subtly.  Either way they clothe all this, quite often, in word games of subterfuge and indirectness, which -- beyond the intellectual puzzle of circumlocution also common in other genres of verbal art -- carries the weight of ''zawen'''s mission in the singular feature of tone.&lt;br /&gt;
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“杂文”常常广泛运用第三层次，即与语境化紧密联系的层次。在这种情况下，邵燕祥声称他找不到“呸呸呸”的文章，但许多读者都知道，他本人以写“杂文”而闻名，这肯定是符合条件的。&lt;br /&gt;
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“呸呸呸!”? 邵燕祥故意找人指责他，然后用尖酸刻薄之语加以反驳。抱怨、战斗和厌恶只是“杂文”所代表的一系列有争议情绪的开始。“杂文”是指责、报复、针锋相对、咆哮的；但正如我稍后将演示的那样，它们也可以相当巧妙地呻吟和叹息。不管怎样，他们常常把这一切穿插在诡辩和间接的文字游戏中，这一点——除了在其他语言艺术流派中常见的迂回曲折的智力谜团之外——承载着“杂文”的使命，即声调的独特特征。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 03:01, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
As a ''zawen'' writer, the “provincial leader's” complaint is exactly the sort of accusation intellectuals like Shao Yanxiang are accustomed to facing. His defense links the ''zawen'' mission to many others we could find in diverse settings; he is also answering, for example, Spiro Agnew's famous condemnation of “nattering nabobs of negativism” in American public discourse, and displaying the cross-cultural breadth of a “Jeremiad,” evident in the travel-worthy allusion of the very term, rooted in biblical texts.  In this and other ''zawen'', Shao defends the contemporary Chinese genre of zawen as genre of protest and complaint.  He borrows the insult of a critic to distinguish thoughtless emotional battering from the carefully aimed spar, which is both his own ideal and the standard mission of the genre of ''zawen.''&lt;br /&gt;
作为一个“杂文”作家，对于来自“省领导”的批评，像邵彦翔这样的知识分子已经习惯面对。他对领导做出的解释让人们把写杂文和我们可以在不同环境中找到的其他任务联系起来;例如，他还解释了斯皮罗·阿格纽(Spiro Agnew)为什么要谴责美国公共演讲中著名的”喋喋不休的消极主义者，并说明了这种悲哀在跨文化上，在这个源自圣经的术语的典当中的广泛性。在这篇杂文和他其他的作品中，邵表示当代中国的杂文是用来表达抗议和不满的文体。他借用了批评家的侮辱言论来区分无意识的情感伤害和有意的争吵，这既是他自己的理想，也是“杂文”应该表现的。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 15:08, 11 December 2020 (UTC)”&lt;br /&gt;
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作为一名“杂文”作家，“省领导”的抱怨正是像邵燕祥这样的知识分子习惯面对的那种指责。他对领导做出的解释让人们把写杂文和我们在不同环境中可以找到的许多其他任务联系起来；例如，他还回答了斯皮罗·阿格纽（Spiro Agnew）在美国公共话语中对“消极主义的喋喋不休”出名的谴责，并展示了&amp;quot;耶利米德&amp;quot;的跨文化广度，这一术语在源于圣经文本的关于旅行的字词中显而易见。 在《杂文》和其他杂文中，邵燕祥为当代中国的杂文流派做辩护，认为杂文是抗议和抱怨的流派。他借用批评家的侮辱来区分思想上的情感打击和精心策划的争吵，这既是他自己的理想， 也是 “杂文” 流派的标准使命。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 09:05, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
'''A Restrained Sample – “East Station”'''&lt;br /&gt;
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I have outlined how one essay demonstrates the function of ''zawen'' in a particularly transparent way, but some of the best and most effective zawen are covert operations.  On the opposite side of spectrum of transparency, we can place a relatively understated and “essay-like” ''zawen'', also by Shao Yanxiang. “East Station” was submitted for a national ''zawen'' competition in a southern evening newspaper in 1994.  It was judged too “sensitive” to publish by the zawen editor, but nevertheless it was privately noted by the editors as the unofficial winner of the competition.  At first glance there is very little to mark it as a ''zawen'' at all, not to mention a seditious ''zawen''.&lt;br /&gt;
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受约束的样本–“东站”'''&lt;br /&gt;
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我已经概述了一篇文章如何以一种特别透明的方式展示“ 杂文”的功能，但是一些最好，最有效的杂文是秘密行动。 在透明度范围的另一面，我们可以放一个相对低调的，也像邵燕香一样的“散文式”“ 杂文”。 1994年，“东方站”在南方晚报上提交给全国“ 杂文”竞赛。它被杂文编辑认为过于“敏感”而无法出版，但编辑私下指出它是非官方的比赛获胜者。乍一看，几乎没有什么可以将其标记为“ 杂文”的，更不用说煽动性的“ 杂文”了。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:47, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
It is a rather lyrical survey of historical images centering upon  refugees, migrants, political and literary figures on their passages to and from Beijing.  It does, however, contain a few of the indications of first level irony that traditionally mark a ''zawen'', such as a “quotation” placed for its jarring effect, as in the opening passage below.&lt;br /&gt;
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Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred the Beijing East Station that lies to the outer East Side of  Front Gate.  Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.”  It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.&lt;br /&gt;
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此文是以流民，移民，政治和文学人物往返北京为中心的历史形象的抒情研究。然而，它确实包含了一些传统上标记“杂文”的第一层讽刺的暗示，例如为了其刺耳效果而放置的“引语”，如下面的开头段落所示。&lt;br /&gt;
三十年前的北京，如果提到“东站”，大家都会知道是指位于正门外东侧的北京东站。如今，这座半西化建筑风格的不起眼的建筑，夹在喧嚣闹市的高楼大厦之间，支撑着一块“铁路工人俱乐部”的小牌子，已是“古文物”，昔日的繁华辉煌早已一去不复返了。&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
The somber opening paragraph is in part marked as a zawen by the appearance of snapshot “quote,” in which what might have been a significant icon of Beijing history is reduced to a cheesy “Railway workers club” sign hanging on a architecturally half-breed building not even worthy of preservation.  Other ironic comments of this sort include Shao's sarcastic reference to Guo Moruo;&lt;br /&gt;
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And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy.  At the time, he composed a poem “How much of the people's blood was spilled for this honor.&lt;br /&gt;
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沉闷的开场白部分是由快照“引文”的出现而标记为杂文的，其中可能是北京历史上的一个重要标志，被简化为一个俗气的“铁路工人俱乐部”标志，悬挂在一座半成品建筑上，甚至不值得保存。 其他类似的讽刺评论包括邵逸夫讽刺郭沫若；&lt;br /&gt;
1949年3月，当郭沫若和他的民主党人齐聚北京时，他们受到了隆重的欢迎，他们流下的泪水是喜悦的。当时，他写了一首诗“为了这个荣誉，人民的洒了多少鲜血。&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.”  -- I do not know why, but this poem was not collected in any of his later collections.&lt;br /&gt;
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In a similar but more deeply contextualized vein would be Shao Yanxiang's allusion to Tu Fu's escape during the An Lu Shan rebellion during the Tang Dynasty contained in the quoted term “fortuitous rescue.”  Shao's general structure in this piece is a recurring cyclical allegory that parallels the Japanese, the Nationalists and the Communists in bitter condemnation of the last, as only one more invasive army disturbing the lives of ordinary Chinese people.  The People's Traffic Police also take their place in this cycle, a silly reminder that we are still in the realm of ''zawen''.&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
Obviously this kind of first and second-level rhetorical sarcasm and historical irony alone is not enough to define an essay as a ''zawen'', but the difficulty of assigning an essay its genre is also no obstacle; ambiguous “mixedness” is part of ''zawen'''s identity.  This covert zawen depends most fundamentally upon indexical irony, to an extent that surpasses “Pei Pei Pei!”?, above.  One crucial feature that makes “East Station” a ''zawen'' is the entirely untextual fact that Shao Yanxiang submitted it in a competition specifically designated for ''zawen'' in a provincial evening newspaper.  The editors did not reject the piece as “non-''zawen'',” on the contrary, they complained that it contained too much of the requisite ''zawen'' pique.  In order to understand this, we must again go beyond the actual words of the piece.&lt;br /&gt;
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仅从一级和二级讽喻修辞及历史讽刺角度分析显然不足以将一篇文章定义为“杂文”，但将一篇文章分类的难题也不是什么障碍；含糊“混杂”是“杂文”的特点之一。杂文的隐蔽性更多地依赖于索引性讽刺，在某种程度上来说，它超越了“呸呸呸！”。把《东站》这篇文章归为“杂文”的一个关键因素是由于其完全无文本性这一事实，邵燕祥在地方晚报“杂文”特辑上发表这篇文章。编者也不否认这篇文章不是一篇“杂文”；相反地，他们抱怨这篇文章涵盖太多“杂文”必不可少的气息。为了解这一点，我们必须再次透过文字本身来看这篇文章。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:49, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
In a late night conversation in which the managing editor and two guests including myself drank beer and discussed the ''zawen'' competition to which “East Station” was submitted, the editor mused about the publication that wasn't.  She said;&lt;br /&gt;
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Actually Shao Yanxiang submitted two manuscripts, but I had to return one.  (Reaching around to a drawer) Well, I wanted to return it to him, but then I couldn't bear to.  The original is still here, I wonder if you will understand?  It requires some background...At the time it was the head editor that rejected the manuscript.  He also felt badly, but there was no question but that it could not be printed, because it would certainly cause trouble...This happens with your friends, but I really felt uncomfortable about this one.&lt;br /&gt;
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在那个深夜，总编辑与包括我在内的两位客人喝了啤酒，我们还讨论了杂文竞赛，有本参赛的书叫“东站”。想到那本未出版的书。 编辑陷入了深思，她说：&lt;br /&gt;
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实际上邵炎祥上交了两份手稿，但我必须退回一份。 （她接着走到抽屉边）是的，我想把这份还给他，但我还是不忍心。 原稿还在这里，我想知道你们是否会明白？ 这需要对当时的背景有一些了解...当时是首席编辑拒绝了手稿。 他也感到难受，但无疑这本书不能被印刷出来，因为到时候肯定会引起麻烦……他是你们的朋友，但是我真的对此感到不舒服。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:44, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
Because this essay was just written so well.  He just wrote about the East Station, but he used Beijing East Station to talk about his view on everything. (Scoggin Fieldnotes)  &lt;br /&gt;
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She continued to discuss the essays that were just too “that way” (''neige le'') as they came in for the competition. “One day the police came and looked through that box all afternoon!” she added.  The managing editor's two guests that evening jumped on her comment, “They what!?” But she retained the appearance of serenely refusing to interpret this police visit as a sinister gesture.&lt;br /&gt;
It was just manuscripts, why should they look at those?  They said they were just reading, there were two of them, I really don't know, I guess they enjoyed reading them too.(ibid)&lt;br /&gt;
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因为这篇作文实在是写得太好了。他只是写了东站，但是他用北京东站来谈他对一切的看法。(史可法场记)&lt;br /&gt;
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她继续谈论参赛的散文，认为文章太&amp;quot;那样&amp;quot;了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，主编的两位客人突然评论道：“他们干什么！”但她平静地拒绝将这次警察访问解释为一种险恶姿态的外貌。&lt;br /&gt;
这只是手稿， 他们为什么要看那些？他们说他们只是在读书， 有两个， 我真的不清楚， 我想他们也喜欢读吧。（同上）--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:17, 12 December 2020 (UTC)&lt;br /&gt;
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因为这篇文章写得太好了。他只是写了东站，但他用北京东站谈他对一切的看法。(史可法场记)&lt;br /&gt;
她继续谈论参赛的散文，认为文章太&amp;quot;那样&amp;quot;（奈格乐）了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，总编辑的两位客人突然说道，“他们在干什么！？”但她仍然保持着平静的样子，拒绝把这次警方的访问解释为一种邪恶的姿态。&lt;br /&gt;
这只是手稿，他们为什么要看那些？他们说他们只是在看书，有两个，我真的不知道，我想他们也喜欢看吧。（同上）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:14, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
When she finally found the manuscript (tucked away where snooping police would not have found it) she decided to give it to me.  She said she had called Shao Yanxiang to tell him that they could not print it, and even though he had said he understood, she still hated to bring the matter to his attention again by sending the essay back to him, and now it seemed too late. Since I was also acquainted with him, and clearly admired him, giving the manuscript to me as research material seemed to her to be a fitting conclusion to the whole matter. &lt;br /&gt;
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In the original manuscript of “East Station” is signed, as is the custom, with the date it was composed at the bottom, “September 13, 1989.”  Although it was submitted to the newspaper in 1994, in a private note scrawled to the editors, Shao added; “Please don't cut or change this date.&lt;br /&gt;
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当她终于找到手稿时（藏在窥探警察找不到的地方），她决定把它给我。她说，她曾打电话给邵燕祥，告诉他，他们不能打印。即使他说，他理解，她仍然不愿意再次提请他注意的问题，把文章给他，现在似乎为时已晚。由于我也认识他，显然很敬佩他，把手稿给我作为研究材料，在她看来是整个事情最合适的结果。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)&lt;br /&gt;
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在原稿上签着“东站”，按照习俗，与日期“1989年9月13日”一起在底部。虽然1994年它提交给了该报，但用一份私人便条向编辑们草草写了字，但邵补充说：“请不要剪掉或更改此日期。”--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
终于她找到了手稿，并且决定把它给我。她说，她曾打电话给邵燕祥，告诉他，这本书不能印刷出版。邵燕祥说他理解，但她还是不愿意把手稿还给他，以免让他再次想起这件事，但现在似乎为时已晚。由于我也和他熟识，并且显然很敬佩他，把手稿给我当做研究材料，在她看来是最好的选择。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:51, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
The new railway station began operation in 1959, and this fits in parallel with 'more that thirty years ago' at the beginning of the essay.”  The emphasis upon these dates forces a new consideration of the essay as a whole.  Suddenly the parallel between Nationalist, Japanese and Communist cycles of refuge and expulsion he mentions are rendered a sinister reference to a modern “rebellion” in the spring and summer of 1989.  The date heightens the threat of Shao's concluding two sentences; “Today will also become history.  And every inch of Beijing earth will provide proof of its history.” The scrawled note links 30 years, 1989, “today,” and the defiant “inches of proof” that mark East Station as a zawen, even beyond the micro structure of submission channels.  For all its elusively distant tone, East Station suddenly became a pointed, angry, and, even in 1994, unpublishable ''zawen''.&lt;br /&gt;
&lt;br /&gt;
新火车站于1959年开始运营，这与文章开头的'三十多年前'相吻合&amp;quot;。对这些日期的强调，迫使我们对文章的整体进行新的考虑。突然间，他提到的国民党、日本和共产党的避难和驱逐周期之间的平衡，被恶意渲染成1989年春夏的现代 &amp;quot;叛乱 &amp;quot;。这个日期强调了邵的最后两句话：“今天也将成为历史。而北京大地的每一寸土地都将为其历史提供证明。&amp;quot; 这张潦草的纸条将30年、1989年、&amp;quot;今天 &amp;quot;和不顾一切的 &amp;quot;寸土寸金 &amp;quot;联系在一起，这标志着东站作为一个杂文，甚至超越了提交渠道的微观结构。尽管东站的语气难以捉摸，但它突然变成了一个尖锐的、愤怒的、甚至在1994年还无法出版的杂文。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:15, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
新火车站于1959年开始运营，与本文开头的“三十多年前”相适应。” 对这些日期的强调迫使我们对论文作为一个整体进行新的考虑。 他提到，国民党，日本人和共产党人的避难和驱逐循环之间的相似之处突然变成了对1989年春夏的现代“叛乱”的阴险参考。这一日期加剧了邵的结论的威胁。 今天也将成为历史。 北京的每一寸土地都将提供其历史的证明。” 散乱的笔记将1989年的30年（今天）与挑衅的“几分证据”联系起来，这标志着东站成为杂文，甚至超出了提交渠道的微观结构。 尽管遥不可及，但东站突然变得尖锐，愤怒，甚至在1994年，也无法发表“杂文”。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
'''A Larger Trend: Revealing Ugly Truth through Troubled Tones'''&lt;br /&gt;
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It is almost a matter of definition, then, that discordant, troubling tones are the characteristic, even of the most beautiful ''zawen''.  I have not illustrated “ugly” ''zawen'' here, but they do exist, and in profusion.  Many ''zawen'' are suffused in a preachy, pedantic tone that is sometimes quite off-putting to Chinese and non-Chinese readers alike.  And yet, like the larger category of essays in Chinese literature, ''zawen'' remain a popular staple in the literary supplements of Chinese newspapers, and many prominent writers turn later in their career to writing ''zawen''.  In contemporary history the “mule” genre of ''zawen'' has also played a significant political role far beyond its humble posture (see Scoggin 1997).&lt;br /&gt;
&lt;br /&gt;
一个更大的趋势。通过烦恼的语气来揭示丑陋的真相。&lt;br /&gt;
那么，这几乎是一个定义的问题，不和谐的、令人不安的音调是特征，即使是最美丽的杂文也是如此。我在这里没有说明 &amp;quot;丑陋 &amp;quot;的杂文，但它们确实存在，而且数量很多。很多文都充斥着一种说教的、迂腐的语气，有时让中国和非中国的读者都很不喜欢。然而，就像中国文学中更大的散文类别一样，杂文仍然是中国报刊文学副刊中的热门主打，许多著名作家在其职业生涯的后期都会转向写杂文。在当代历史上，&amp;quot;骡子 &amp;quot;文体也发挥了重要的政治作用，远远超出了它的卑微姿态（见Scoggin 1997）。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:57, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
What is it about this genre that draws prominent writers, and commands significant attention of the Chinese readership?  The answer lies, I think, in assumptions about the mechanics of tone rooted in Chinese literary history.  To examine this problem we need to leave particular zawen behind and examine a larger picture that views Chinese literature via the globalized perspective that contemporary Chinese critics take.&lt;br /&gt;
&lt;br /&gt;
''Zawen'' as a category causes problems for Chinese as well as non Chinese classification, but there is a revealing divide between Western and Chinese treatment of zawen.  With few exceptions, ''zawen'' has been neglected as a subject of the study of Chinese literature from outside of China until recently (the Achern conference on the Modern Chinese Literary Essay being a rare exception, with several papers devoted to zawen.) &lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
While the problem of the status of zawen is not important in itself, I propose difficulties with this particular genre can reflect larger issues of significance to the study of Chinese literature and culture more generally.  ''Zawen'' can highlight some special features of Chinese writing that are latent in other, more respectable forms of Chinese literature and culture.  My research on ''zawen'' showed many instances of zawen being held up as a unique outgrowth of Chinese particularities, such as a fondness for brevity in verbal art, a tendency to take intellectuals more seriously than they are taken in contemporary societies elsewhere, as well as a few “perversions” that are supposedly unique to China, such as political tyranny that is strikingly detail-oriented, or collective aversion to verbal performance that is too straightforward (Scoggin 1997).&lt;br /&gt;
尽管杂文现状问题本身不是很重要，但是在更大层面上，即站在研究中国文学与文化的角度上看，克服掉研究这种特别类型的困难还是有很大意义的。“杂文”可以突显中国写作的一些独特特征，这些特征潜在于中国文学与文化中的其他更为体面的类型里面。在我对于“杂文”的研究里，展现了很多可证实杂文作为中国人性格发展结果的例子，比如说，喜爱口头表达的简洁，较比现代社会，以前的文人墨客被看得更重，以及一些中国独有的“反常”现象，比如明显关注细节的政治暴政或者对于过于直白的口头表现的集体厌恶。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 08:51, 13 December 2020 (UTC)Zhou Shiqing&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
Some of these claims for Chinese exceptionalism may be overblown; but I think that the genre, driven by what I argue is its central mission of tone, makes observable certain strains and practices that have acted as stumbling blocks to international research on other aspects of  Chinese culture.  &lt;br /&gt;
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Chief among those obstacles to the study of Chinese literature is what I call the “bad literature” complaint.[	For recent affirmations of this complaint, see Huters 1990, McDougall 1997, Link, 2000.  Earlier views in American sinology tie &amp;quot;bad literature&amp;quot; directly to the effects of political tyranny. ]  Summarizing several quite different lines of argument, the suggestion is that with all the promise of Chinese literature holds as a naturally poetic language, with rich, revered and well-preserved traditions, with the particular visual and grammatical advantages of the Chinese character and linguistic structure, and further with dedicated literary “troops” to use the modern Chinese metaphor for institutions of organized and supported writers, modern Chinese literature has failed to produce truly great literature.&lt;br /&gt;
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这些对中国例外论的主张也许有些夸大其词。但我认为，在我所说的语调中心使命的推动下，这一体裁产生了一些明显的张力和做法，它们成为了国际上对中国文化其他方面研究的绊脚石。&lt;br /&gt;
在中国文学研究的这些障碍中，最主要的是我所说的“糟糕文学”抱怨。[最近对这一投诉的肯定，见胡志德1990，麦独,1997，林克，2000，美国汉学早期的观点将“糟糕文学”与政治暴政直接联系在一起。]总结几条截然不同的论据，我们的建议是，尽管中国文学的所有希望都是一种自然诗意的语言，有着丰富、受人尊敬和保存完好的传统，具有汉字和语言结构的独特视觉和语法优势，而且还具有专门的文学作品“军队”，用现代汉语比喻制度中有组织、有支持的作家，中国现代文学未能产生真正伟大的文学作品。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:01, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
Obviously this generalization is subject to objection at many, if not all of its points.  I would argue, however, that the consistency with which similar arguments emerge, defensible or not, points to themes of some significance.  Complaints frequently accrue over the following literary practices;&lt;br /&gt;
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1)Indulging in churlish tones, including hectoring, scolding and otherwise “yelling” in print&lt;br /&gt;
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2)Adhering to one or another “politically correct line” &lt;br /&gt;
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3)Participating in personal squabbles and vendettas, sometimes involving extraliterary persecution of both writers and targets &lt;br /&gt;
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4)Exhibiting an “obsession” with China, and an oversized sense of responsibility for its fate&lt;br /&gt;
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显然，这一概括在许多方面(如果不是全部观点的话)都遭到反对。然而，我要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;&lt;br /&gt;
1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”&lt;br /&gt;
2)坚持自己的“政治正确路线”&lt;br /&gt;
3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害&lt;br /&gt;
4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:00, 9 December 2020 (UTC)&lt;br /&gt;
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显然，这一概括在许多方面(如果不是全部观点的话)都会遭到反对。然而，我（在此）要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;&lt;br /&gt;
1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”&lt;br /&gt;
2)坚持自己的“政治正确路线”&lt;br /&gt;
3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害&lt;br /&gt;
4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:03, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
Interestingly, these complaints of “bad literature” are usually not strongly refuted by Chinese literary critics.  Fair, true or not, this sort of summary criticism of  the Jeremiah complex in Chinese literature in general is relevant to my discussion because these very faults that warrant the most notice are deliberately magnified in the genre of ''zawen'', and may be, I believe, essentially outgrowths of an almost unconscious commitment to the type of tone that defines the ''zawen'' genre most purely.  I argue that what has happened here is that readers and analysts have failed to recognize a literary strategy that reflects deeper ideas about how tone is supposed to operate in verbal practice.&lt;br /&gt;
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有趣的是，中国文学评论家通常不会强烈反驳这些对“烂文学”的抱怨。不管是否公平与真实,在中国文学中，这种耶利米情结的总结批评大体上和我的研究是相关的,因为这些最值得注意的错误在&amp;quot; 杂文&amp;quot;中被故意放大了。我认为,这本质上也许是纯粹对定义“杂文”体裁语气类型的无意识承诺的发展。我认为，这里的问题在于，读者和分析人士未能认识到一种文学策略，这种策略反映了语气在口头练习中应该如何发挥作用的更深层次的观点。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:08, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
These “off” tones are not just flaws and mistakes resulting from tyranny or exaggeration, nor are they mere signs of amateur literary expression, the struggles of a culture trying to modernize.  Instead they are held to be nearly involuntary markers, not of beauty, but what we will have to call for lack of a better word, “truth,” revealed by critical examination of shortcomings and problems that appear to stem from, again for lack of a better word, “culture.”  Culture, in the high modern ideology adopted more or less wholesale in contemporary Chinese theoretical systems is opposed to the neutral modernity of newspaper editorials and literary short stories and the other canonical genres of modern writing practices. &lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
Culture is not general, it is particular and peculiar, and Chinese culture exerts a powerfully perverse influence upon most genres of literature practiced in China.&lt;br /&gt;
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Examining tone in the broader context of Chinese culture reveals some of particular ways that social exchange, reference and the other mundane duties that plain (neutral, modern) words are supposed to carry out, must be crosscut with characteristically Chinese tone in order to communicate with the authority of truth, in explicit defiance of social requirements for polite and face-saving locutions held to be necessary in a uniquely Chinese way.  Thus, complaint about “bad literature,” from a Chinese perspective may not be a mere reflection of failure but, rather, an expression of protest, a modal trope, mule's kick that works with stubborn tenacity to reveal unpleasant truths.&lt;br /&gt;
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文化不是普遍的，而是特殊又独特的，中国文化对中国过去大多数流派的实用文学产生了强大的反常影响。&lt;br /&gt;
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在更广泛的中国文化语境中考察语气揭示了一些特定的社会交换的方式，必须以具有中国特色的格调横切，参照语和普通词语（中性，现代）词语应该承担的角色必须与具有特色的汉语语调相交汇以便与真理的权威沟通。显然，这无视以独特的中国方式所必需的礼貌和爱面子的社会要求。因此，从中国人的角度来看:对“不良文学”的抱怨可能不仅仅是失败的反映，而是一种抗议的表达，一种情感化的的比喻，一种用顽强的韧性来揭示令人不快事实的骡踢。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:51, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
''Zawen'' provide frequent commentary on precisely this issue.  Lan Ling, a major opponent of “New Tone” zawen theory provides a characteristically provocative commentary on writing “the ugly truth” through zawen.  In an essay that asks why such a fuss is made when a “upright and esteemed elderly writer” pronounces that he intends now to speak/write “the truth,” (he refers to Ba Jin, see ''Suiganlu'') Lan Ling demonstrates the difficulty of establishing truth through his own experience:&lt;br /&gt;
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It was several decades ago that they “struggled” me saying I was “reactionary.” I responded, “I am fundamentally not reactionary (''fandong''), in fact, I am actionary (''zhengdong'').”  They said, “There you go with sophistry, you are lying, who has ever heard of such a thing as 'actionary'?”  … But if what I said was false, that of course meant that what they said was true, and thus my political label was accomplished: “reactionary.”  After several decades this conclusion was overturned and rectified, so now what I had said became the truth.  (Lan, 85).  &lt;br /&gt;
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==Zhu Suyao 朱素瑶==&lt;br /&gt;
The irony and false fatalism of this ''zawen'' is characteristic of its style.  In this essay he claims to give up distinguishing the truth of his own speech; “No matter how difficult it is, this miserable person [I] still want to speak, and as for whether it is true or not, let someone else go analyze it.” (Lan, 85)  Lan Ling reveals that he has created, in the heat of struggle, a misnomer; there is no such word as “actionary.”  But, in the end, in its awkward and involuntary way, his retort rings true, what way is there to be, if not reactionary?  Displaying all four characteristics of the “bad literature” complaint I have listed above, this piece is still an admired ''zawen''.  It is the moody, but honest, kick of the mule.&lt;br /&gt;
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这种“杂文”中的反讽和错误的宿命论是其风格的特点。在这篇文章中他宣称放弃了甄别言论中的真伪；“不管有多困难，这个可怜的人[我]仍然想说，至于说的真假，就让别人去分析去吧。”（兰，85）兰陵表示，在激烈的斗争中，他出现过用词不当的情况；就比如没有像“actionary”这样的词。”但是最后他的反驳以笨拙和不自觉的方式听起来像是真的，即使不是反动派的话，还能是哪种呢？这篇文章展示了我以上所列举的“不良文学”的全部的四个特点，它仍然是一篇受人敬佩的“杂文”。它令人悲伤，但是真诚又执拗。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:25, 9 December 2020 (UTC)&lt;br /&gt;
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这类杂文的风格特点是讽刺和虚假的宿命论。在这篇文章中，他声称要放弃辨别自身言论的真假，&amp;quot;无论多么困难，这个可怜的人（我）还是要说，至于说的是不是真的，就让别人去分析吧&amp;quot;。(兰，85)兰陵透露，他在斗争的热潮中，创造了一个误区，没有 ’行动力‘这个词。”但是，最后，他以笨拙和不由自主的方式作出的反驳，听起来又像真的，如果不是反动性，还能有什么方式呢？这篇文章表现出我上面所批判列举的 &amp;quot;劣质文学 &amp;quot;的四个特征，但它仍然是一篇令人钦佩的杂文。它是有情调的，却诚实有执拗。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 09:09, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
''Tone in Historical Context''&lt;br /&gt;
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As evidence that it is the modal trope that inspired the genre of zawen from its inception, I conclude this essay with a brief look at historical manifestations of tone. It is key, and often part of the Chinese subtext, that the notion of tone (discussed alternately ''diao, yin, yun'') ultimately originates beyond words, in music. Even as a metaphor that must obliterate the acoustic qualities of sound when applied to written Chinese, tone maintains ties to the power of something that is in, or is like, sound, emphasizing physical, oral, informal and emotional qualities that are not part the rational process of exposition, this is the “poetry” of ''zawen''. Tone plays a role in a tremendous range of social events that surround and comprise writing.  It occurs in the figure of music as a central metaphor in the most influential theories of literature and poetry.&lt;br /&gt;
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历史背景下的音调&lt;br /&gt;
&lt;br /&gt;
为了证明这是情态修辞启发了扎文这一体裁的产生，我在这篇文章的结尾简要介绍了音调在历史中的表现。音调的概念（也是人们讨论的“调”，“音”，“韵”）最终源于音乐中的文字，这很关键，而且这也经常是中文潜台词的一部分。即使它作为一个隐喻，在应用于中文书写时，它必须消除声音的声学品质，但语气仍与声音中或类似声音的事物保持联系，强调客观，口头，非正式和情感方面的品质，而这并不是声音的一部分。理性的阐释过程，这就是杂文的“诗”。音调在围绕和组成写作的众多社交活动中发挥着作用。它出现在音乐人物中，成为最有影响力的文学和诗歌理论中的中心隐喻。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:32, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
For example, spoiled music can signal a larger or more abstract disturbance; in the classic novel Dream of the Red Chamber a heroine breaks a string on a instrument and sees her impending death; in a well known folk story a high ranking official Yu Boya hits a sour note and knows that a potential assassin is lurking in the woods, listening.  Music figures centrally in the Confucian Great Preface to the Book of Odes:&lt;br /&gt;
&lt;br /&gt;
The affections emerge in sounds; when those sounds have patterning they are called “tones” [音] The tones of a well-managed aged are at rest and happy; its government is balanced.  The tones of an age of turmoil are bitter and full of anger; its government is perverse.  The tones of a ruined state are filled with lament and brooding; its people are in difficulty (Translated in Owen).&lt;br /&gt;
&lt;br /&gt;
例如，被破坏的音乐能预示更大或更抽象的不安。在经典小说《红楼梦》中，女主人公弄断了乐器上的一根弦，看到了自己即将到来的死亡。在一个广为人知的民间故事中，高官俞伯牙拨弄出了一个尖锐的音符，便知道有一个刺客正潜伏在树林里。音乐在儒家的《诗经大序》中占有核心地位。&lt;br /&gt;
&lt;br /&gt;
情感显现在声音里，当这些声音有了图式，就叫 &amp;quot;音&amp;quot;。在太平盛世里，音调是安然而欢快的，政通人和。在动荡年代里，音调是苦涩而充满愤怒的，政府是不作为的。破国的音调充满了哀叹和忧郁，人民处于水深火热之中（欧文译）。&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201214_trans&amp;diff=111451</id>
		<title>20201214 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201214_trans&amp;diff=111451"/>
		<updated>2020-12-13T11:39:37Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
In fact, reportage research and composition along with organizing and performing in roving theatrical troupes became one of the principal modes of ”internship” for young writers in the socialist educational system as it emerged in Yan’an.&lt;br /&gt;
&lt;br /&gt;
Yang Shuo, Liu Baiyu, and Qin Mu were all in their twenties at this time, so they had limited literary experience before the 1940s.  Thus for Liu and Yang, the Yan’an years helped define for them what literature is supposed to be from process to product.  Qin Mu, however, never went to Yan’an; he spent the entire war in Guangdong, Guangxi and Guizhou.  Thus though he had experience with some of these procedures of production in progressive circles in those areas, Qin Mu was not saturated in this kind of cultural environment.&lt;br /&gt;
&lt;br /&gt;
事实上，在延安出现的社会主义教育体系中，报道文学的研究与创作和组织并参演剧团演出一起，成为青年作家的主要“实习”方式之一。&lt;br /&gt;
&lt;br /&gt;
杨朔，刘白羽和秦牧当时都是二十来岁，所以他们在四十年代前的文学经验有限。对于刘白羽和杨朔而言，那段延安时光帮助他们定义了文学是如何由形成到产出的。秦牧却没有去过延安，他的整个战争时期都是在广东，广西和贵州度过的。因此，即便他在一些抗战区域有相关经验，秦牧仍然是没有被这种文化环境所浸染的。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:39, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
Once socialism or communism took the position of power (as in Yan’an during the war against Japan and then throughout the PRC after 1949) critical prose writing (whether essays or reportage) as it had been practiced during wartime became much more dubious from the point of view of cultural officials, and nonfiction needed to become a vehicle of literary celebration of public, historical achievements.[	See for example Yang Shuo, ”Qian jin, gangtie de dajun” (March Forth, Great Army of Steel, 1949), Zhonghua sanwen zhencang ben, Yang Shuo juan (Beijing:  Renmin wenxue chubanshe, 1998) 25-33; ”Pingchang de ren” (An ordinary man, 1951) 25-33; ”Pingchang de ren” (An ordinary man, 1951), Yang Shuo juan 13-17, ”Gebi tan shang de chuntian” (Springtime on the Gobi, 1953), Yang Shuo juan 29-33. ]  This is precisely the familiar dilemma of Ding Ling, coming into Yan’an society well trained as a keen critic of her environment.  It was an awkward transition, except for those who came into the socialist educational cultural system while still relatively young.  To them the business of literature was that of constructing an unprecedented new vision.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
'''Writers’ changing roles changed literary prose'''&lt;br /&gt;
&lt;br /&gt;
Each of the three authors I am discussing here was born between 1913 and 1919, only a few short years after the fall of the Qing dynasty and the establishment of the Republic of China.  They were all in their late teens and early twenties at the outbreak of the war against Japan.  Being roughly the same age, they shared the same historical and cultural atmosphere, but being in different locations, engaged in the war in different capacities, their transition into the aesthetics of incongruous lyricism took different paths and thus embodied different tensions.&lt;br /&gt;
&lt;br /&gt;
'''作者的角色变化改变了文学散文的面貌'''&lt;br /&gt;
&lt;br /&gt;
我在此探讨的三位作家都出生于1913至1919年间，距清王朝灭亡和中华民国建立仅短短几年时间。抗日战争爆发时，三人都是十几岁到二十几岁。他们年龄相仿，有着相同的历史、文化氛围，但由于身在不同的地方，以不同的身份参加战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:09, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''作家角色的变化改变了散文的面貌'''&lt;br /&gt;
&lt;br /&gt;
我在此探讨的三位作家都出生于1913至1919年之间，是清王朝覆灭和中华民国建立后的短短几年。抗日战争爆发时，三人都是十几岁到二十出头。他们年龄相仿，处于相同的历史和文化氛围下，但由于身在不同的地方，以不同的方式参与战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:55, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
Yang Shuo[	1913-1968, orig. Yang Shujin(?), of Penglai County in Shandong.] is probably the most ”standard” of the three from the point of view of the Communist Party in that he went to Yan’an early (winter 1937) and worked under the direction of the party’s cultural apparatus for the duration of the war there, in the northwest, and in Guangzhou.  Like the reportage writer Huang Gang, he was of the right age for this Yan’an-based period to be his principal formative and educational experience, deeply conditioning his approach and attitude toward writing in the 1950s and 1960s.  That being said, Yang Shuo was more concerned with issues of literary quality and symbolic meaning than others writing under the direction of the CP, and this concern colored even his most famous works with puzzling tones of ambivalence and reservation.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
Liu Baiyu[	1916-?, orig. Liu Yuzan, of Beijing. See Niu Yunqing, Liu Baiyu pingzhuan (Chongqing:  Chongqing chubanshe, 1995).] arrived in Yan’an relatively early too, and was quickly immersed in its literary activism.  Only weeks after his arrival, and though Liu was only 22 at the time, Mao Zedong personally assigned him to lead a five-person escort for the American marine observer Evans Carson to visit the guerilla areas in Northern China (one of a variety of types of ”cultural worker” assignments in the communist base areas).  Despite this promising start and occasional contact with Mao, Liu published works that incurred the wrath of some critics and officials, became a target in the Yan’an zhengfeng campaign after Mao’s Talks, and underwent a process of mutual and self-criticism at the Central Party School.  &lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
Though the result of this painful process was apparently ”successful” (Liu went on to hold important cultural administrative positions in the PRC), it also alienated him from certain elements in the literary community and led him to take an aggressively authoritarian role as the Party secretary of the Writers’ Assocation during the Anti-Rightist Campaign in 1957 and 58.  This alienation is occasionally revealed in his sanwen works from that point on.&lt;br /&gt;
&lt;br /&gt;
Qin Mu[	1919-199?, orig. Lin Juefu, b. Singapore, of Chenghai County in Guangdong. See Huang Zhuocai, Weng Guangyu and Ai Zhiping, Qin Mu pingzhuan (Guangzhou: Huacheng chubanshe, 1989).] is one more step removed because he did not share the Yan’an experience with Yang and Liu. Though he was active in the literary resistance during the war against Japan, and though his biographers insist that he originally planned to go to Yan’an as early as 1938, he never went there (Huang, Weng and Ai, 1989, 26-27).  &lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
Because he did belong to the age cohort and had the same basic inclinations, he did come into contact with the same organizations (the Communist Party, Wenxie) that the others did, and indeed could even have met Yang Shuo in Canton when Yang was sent there on assignment in 1938.  He also engaged in similar types of literary intervention, organizing and performing traveling anti-Japanese theater in the countryside, accompanying troops in the field as a writer, and publishing anti-Japanese and anti-KMT/US zawen in Rear or KMT area newspapers.  But his experience during the war was not a community experience:  Qin at first alone and later with his wife underwent the trials and tribulations of a writer at wartime as an individual, making his own decisions and contacting organizations only when the opportunity presented itself and he wished to do so.&lt;br /&gt;
&lt;br /&gt;
因为他确实属于同龄人并且具有相同的基本倾向，他也确实和其他人一样和同一个组织如共产党，文协有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日及反抗国民党或美国的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。&lt;br /&gt;
&lt;br /&gt;
因为他与别人年纪相仿， 基本倾向相同，也都与共产党，文协等组织有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日，反抗国民党或抗美的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:05, 13 December 2020 (UTC)&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
Thus there is an especially independent streak about him that made relations between him and the Writer’s Association after 1949 somewhat strained.  He was attacked in the 1957 zhengfeng movement, and it was not until 1962 that he joined the Communist Party.&lt;br /&gt;
&lt;br /&gt;
Thus each of these writers exhibited different tensions as they approached writing after 1949, and particularly during and after the Hundred Flowers Campaign.  All of them, however, adopted sanwen as a vehicle to express themselves, and while these essays at time seem on the surface to be pat or fulsome propaganda, they continue to be colored by these at times very personal tensions that often make the essays more compelling reading in spite of themselves.&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
'''Procedures and interests of socialist essays'''&lt;br /&gt;
&lt;br /&gt;
The sanwen of the late 1950s and early 1960s, because of a variety of different such personal and larger cultural tensions, manifest various kinds of ”incongruous lyricism.”  All three of these writers had their essays included in textbooks for junior high school and high school during the 1960s and 70s.  But these canonic texts represented only the completion of a gradual process of adjustment and must be viewed alongside earlier, less well-known efforts by these authors as well as their works in other genres, particularly fiction.&lt;br /&gt;
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社会散文的发展阶段和关注点&lt;br /&gt;
&lt;br /&gt;
由于不同的个人冲突和更严重的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样“不和谐的抒情性”。这三位作家的散文均已收录进20世纪六七十年代的中学教材中。这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来看待那些经典文本。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:41, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
由于各种各样的个人冲突乃至文化冲突，20世纪50年代末至60年代初的散文呈现出多样的“不和谐的抒情性”。在20世纪六七十年代的中学和高中教材中，这三位作家的散文均编撰进了课本。然而这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来分析那些经典文本。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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社会散文的发展和关注点&lt;br /&gt;
&lt;br /&gt;
由于各种个人冲突和愈发剧烈的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样的“不和谐的抒情性”。20世纪六七十年代，这三位作家的三位都被收录进中学教材中。而这些经典文本仅代表调整工作的逐步完成，要正确的看待这些经典文本，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:42, 10 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
'''Friction with leftist aesthetics'''&lt;br /&gt;
&lt;br /&gt;
In the late 1950s and early 1960s the term sanwen was more frequently associated with ”lyricism” (shuqing) and opposed to ”expository” (shuoli) prose essays.  In practice, this is indicated by long descriptive passages, the frequent use of direct address to the reader in the second person as well as rhetorically loaded interrogative, imperative and expressive particles.  At particularly rhapsodic moments, socialist sanwen  texts take on a fu-like rhetoric, syntactic parallelism and a piling up of listed concrete objects and rich varieties of adverbs and adjectives.  One is attempted to associate this attempt at of verbal profusion with certain Republican period stylists like Zhu Ziqing and Yu Pingbo, but the socialist version is much more extravagant both in verbiage and emotional exhibitionism. &lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
On the level of imagery, a general fascination with images of light, fire and torches left over from the war period[	Particularly evident in Liu Baiyu’s reportage works from the late 1940s.] remains but in part gives way to a new interest in flower imagery in the 1950s.[	Qin Mu’s essays and some of Yang Shuo’s are filled with varieties of flowers and plants, enjoyed in themselves and as symbols of other things. ]  Finally a strategy common to all three writers is to conceive of a vista or an experience as a living landscape painting, emphasizing a magnitude of vision and the accompanying emotional exhilaration.  In some cases, these highly visual essays are accompanied with illustrations uncannily consistent with the texts’ visualization of the landscape. &lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
'''Yang Shuo'''&lt;br /&gt;
&lt;br /&gt;
Yang Shuo’s 1959 essay ”The Highest Peak of Taishan”[	Taishan jiding, wr. 1959, from Haishi.  Yang, 125-129.] features this kind of overt reference to landscape painting.  The text simply narrates the author’s ascent of the famous Shandong mountain, but the narrative structure of the climb is interwoven with a figurative structure consisting of three elements.   The first is the traditional landscape painting motif:  ”All the way from the foothills, looking closely at the mountain landscape, I felt like what was before me was not the lord of the Five Famous Mountains, but more like a green and blue landscape painting of astounding size,” (Yang, 125) an idea he develops as a conceit with figurative descriptive language.  Second, Yang writes ”after a while, I began to feel that I was not only looking at a landscape painting, but randomly flipping through a historical manuscript.”  (Yang, 126)&lt;br /&gt;
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'''杨朔'''&lt;br /&gt;
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杨朔于1959年创作的散文《泰山极顶》[《泰山极顶》创作于1959年，选自《海市》。 杨，125-129。]就是这种对山水画的公开引用。 文字只是讲述了作者在著名的山东山峰上的登顶，但攀登的叙事结构与由三个要素组成的形象结构交织在一起。 第一个是传统的山水画主题：“一路上从山脚往上爬，细看山景，我觉得挂在眼前的不是五岳独尊的泰山，却像一幅规模惊人的青绿山水画。”（Yang，125）。他将这种想法发展为一种比喻性的描述性语言。然后杨写道：“一时间，我又觉得自己不仅是在看画卷，却又象是在零零乱乱翻着一卷历史稿本。” （杨，126）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:29, 13 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
This in reference to the calligraphy of famous visitors to the mountain carved into its sides and the legends and stories about them.  The third and last layer of figuration is the sense that the author is not climbing a mountain, but climbing into the sky.&lt;br /&gt;
&lt;br /&gt;
The touristy desire to see the sunrise from Taishan’s peak introduced at the essay’s outset and which teases the reader occasionally throughout the text is deftly frustrated in the rhetorical pursuit of what to the author is a higher aim:  the recontainment of a Taishan travelogue into the extolling of the historical achievements of socialism.  Once he has passed through the Southern Gate of Heaven, the author sees the Shandong landscape spread out at his feet, but what he notices are the grand commune wheat fields (amber waves of grain) as opposed to patchwork agricultural quilt of yore, and smoky plumes in the distance are not scattered homes but factories.&lt;br /&gt;
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这指的是著名游客在山上刻的书法以及他们的传说和故事。该比喻的第三层，也是最后一层指的意象不是作者在爬山，而是在攀向天空。 &lt;br /&gt;
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文章一开始就介绍了游客想从泰山山顶看日出的期望，这种期望偶尔会在整篇文章中戏弄读者，但在追求对作者来说是更高的目标的过程中，这种期望被巧妙地挫败了，即将泰山游记重新纳入那些值得赞美的社会主义历史成就中。一旦穿过南天门，作者就能看到在他脚下绵延的山东风景，但他注意到的不是往昔像被子一样拼凑的田块，而是壮观的公社麦田(琥珀色的谷浪)，远处像羽毛般的迷雾也不是分散的家庭，而是工厂。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:37, 10 December 2020 (UTC)&lt;br /&gt;
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山的两侧雕刻了著名游客的书法，这里参考了他们的书法，以及他们的传奇故事。第三层比喻，也是最后一层比喻，意不在于作者爬山，而是在于攀登高空。&lt;br /&gt;
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文章一开始就介绍：游客想从泰山顶观赏日出，然而在整篇文章中，作者为了追求更高目标：将泰山游记重塑为对社会主义历史成就的颂扬，灵活使用修辞，有时会逗弄读者，让读者受挫。游客一旦穿过南天门，作者就能看到整个山东省的美景在他脚下，但是作者却把注意力放在宽阔的公社麦田（琥珀色的麦浪），麦田对面是一块块农田，还有从远处飘散的羽毛似的迷雾，这迷雾不是从飘出来的，而是从工厂里出来的。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:11, 11 December 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
Though the weather had been clear at night near the peak when the party went to bed early in order to get up in time for the sunrise, fog and rain overnight linger to create an overcast sky at dawn.   But author’s socialist/communist landscape epiphany of the previous evening eclipses the banal tourist wish for a beautiful sunrise – he has seen ”another kind of” (metaphysical) sunrise, that of the Chinese people/nation on the horizon.&lt;br /&gt;
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In his essay about Kunming’s camellias,[	”Chahua fu” (Ode to the Camellia) written 1961, from Dongfeng di yi zhi.  Yang 134-37.] Yang Shuo opens with a discussion with an artist friend about what kind of painting would show the face of the ”motherland” (zuguo).  He then turns to his trip to Kunming after returning from travels abroad.  &lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
Especially as a ”northerner” he is struck by the beauty of the red camellia flowers around the city and in Huating Temple, where he is escorted by Jin Zhiwen, the landscaper.  His attention is drawn to one variety called ”Child’s Face” tongmian.  As is almost invariably the case in Yang Shuo essays, the subject he has chosen becomes an opportunity for the author to contemplate the symbolic resonances of its characteristics – in this case the camellia’s sensitivity to proper care, environment and natural enemies, but also the fact that great trees centuries old have been carefully cultivated with hundreds and even thousands of blossoms.  A detailed description of the gardener himself provides the author with the key to the signified:&lt;br /&gt;
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特别是作为一个北方人，他完全被这座城市周围，以及华亭寺内美丽的山茶花迷住了，在那里，景观设计师金志文护送着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。对园丁本人详尽描述也是作者了解其重要意义的关键。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:48, 11 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
I fervently gazed at his hands, hands covered with mud-stained calluses.  Then I looked at his face, the wrinkles at the corners of his eyes were cut deep, and it was not necessary to ask about his background:  I could guess that he was a middle aged man who had been through a lot.  If he waled away from you and into the crowd, he would vanish immediately and it would be very hard to find him again – he was just that kind of very ordinary laborer.  But it is just this kind of person, month after month, year after year, exerting mind and body, cultivating flowers and plants with all his effort, beautifying our lives.  This is how beauty is created. (Yang, 136)&lt;br /&gt;
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我热切地注视着他的双手，那双手满是带泥的茧子。然后我看了看他的脸，他眼角的皱纹已经很深了。我没有必要再追问他的背景，因为我可以猜出他是一个饱受风霜的中年男人。如果他现在转身离开钻进人群里，他会很快消失在人海中，要再找到他就很难了——他就是这样一个十分普通的劳动者。但是正是这样普通的劳动者日复一日，年复一年的辛勤劳作，用身心浇灌花朵和树木，美化我们的生活。美就是这样被创造出来的。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:02, 11 December 2020 (UTC)&lt;br /&gt;
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我热切地注视着他的手，那双手布满了沾满泥土的老茧。 然后我看了看他的脸，他眼角的皱纹很深。不用问他的背景， 我可以猜到他是一个饱经沧桑的中年男人。 如果他从你身边晃晃悠悠地走到人群中，他就会立刻消失在人海中，再想找到他就很难了--他就是那种很普通的劳动者。 但就是这样一个人，月复一月，年复一年，耗费着身心，用他的全部心血培育着花草，美化着我们的生活。 美就是这样被创造出来的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:59, 13 December 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
When author observes a group of schoolchildren who have come to see the camellias, the bond is cemented and the ”paint the face of the nation” riddle is solved – paint the Child Face Camelia.&lt;br /&gt;
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What is incongruous in Yang Shuo’s lyricism, in many other examples in addition to these, is that no matter how transparent the symbolism and fervent the message of his essay, there is almost always slight ambivalence introduced by negative elements at the fringes:  why does the glorification of socialist progress in ”Taishan’s Highest Peak” have to come at the expense of the famous sunrise?  What has Jin Zhiren ”been through” that has deepened his wrinkles, and why should that pain be related to the creation of beauty?&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
'''Liu Baiyu'''&lt;br /&gt;
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Liu Baiyu’s transition toward sanwen in the PRC came from the direction of reportage literature.  Liu had established some reputation as a novelist on the literary scene through key connections he had made with Ba Jin, Zhang Tianyi, Ye Yiqun and other major figures in the 1930s.  But by 1949 it was his reportage collections, including Around the Northeast, The Light Shines Down on Shenyang, Cutting across the Central Plains, and The Torches Glow Red in the Yangtse River that were some of the best known works by a communist writer during the civil war in the late 1940s. &lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
The late 1950s text ”Lamplight” revisits the experience of the battlefield in a much more peaceful China.  ”Lamplight” has a forceful, shrill rhetoric in its development of the image of glowing light through a number of different contexts, from war to socialist economic construction without losing the sense of militant struggle that informed the image of light for Liu from the beginning. [	”Denghuo” (Lamplight), Liu Baiyu, Hong manao ji (Red agate) (Beijing:  Wenhua yishu chubanshe, 1983) 5-11. ]  Evidently Liu, though he holds influential positions in the literary establishment of the time, feels alienated by certain elements on the literary scene, particularly in regard to the stigmatization of the experience of the battlefield:&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
. . . nowadays some people treat the subject of war, regardless of right or wrong, regardless of green red black or white always make it look bloody, dark and horrible!  They call this ”through the soldier’s eyes,” ”foxhole realism”  Hai!  This makes those of us who have strapped puttees on our calves and have had the smell of gunpowder about the shoulders want to laugh our heads off.  What can you do?  There are brave soldiers who fight for what’s right; there are counter-revolutionary murderers; and there are cowardly traitors.  Since there are different kinds of soldiers, there have to be different soldier points of view, and there must be different kinds of ”foxhole reality.”  Perhaps there are those who would criticize me:  how did I get from lamplight to this argument about war, aren’t I getting way off track?  Actually, no.  The lamplight I am talking about may be a small matter, but it really is a reality of life at war.  Getting back to the subject, on the chill wilderness of the Songhua river, trudging through winter snows, wading through summer rapids, from lamplight I was able to understand a certain kind of warmth. (Liu, 7-8)&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
&amp;quot;The Brilliance of Spring,&amp;quot;[”Qingchun de shanguang,” written 1959, in Hong manao ji, 23-33.] a lengthy, fu-like essay extolling ten years of socialism in China, manifests many of the distinguishing characteristics of Liu’s post-1949 sanwen.  Though written in the wake of the Anti-Rightist Campaign, it casts no shadow on the essay and though there is flower imagery, significantly, it does not emphasize diversity (as in ”hundred flowers”).  At about 6,000 characters, it is also much longer than most of Yang Shuo’s essays, which are usually about half that long, particularly those most revered and anthologized.  ”The Brilliance of Spring” does not start out with a clearly-defined topic; the occasion or motivation of its composition did not become obvious to me until near the end.&lt;br /&gt;
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&amp;quot;春光灿烂&amp;quot;（又名《青春的闪光》，写于1959年，载自《红玛瑙集》，23-33页。）这是一篇颂扬中国十年来社会主义发展的长篇巨作，表现了1949年后其散文的显著特点。即使写于反右运动之后，但其并未受其影响，虽然辞藻华丽，但并未没有强调多样性（如 &amp;quot;百花齐放&amp;quot;）。文章字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在3000字左右，尤其是那些最受推崇的散文和文集。 &amp;quot;春光灿烂 &amp;quot;一开始并没有明确的主题，制造结尾我才明白它的创作场合和动机。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:01, 9 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;春天的辉煌&amp;quot;，[《庆春德山岗》，写于1959年，载《红玛瑙集》，23-33页。]这是一篇颂扬中国社会主义十年的长篇文章，表现了刘勰1949年后散文的许多显著特点。 虽然写于反右运动之后，但没有给文章蒙上阴影，虽然有花的意象，但显著的是，它没有强调多样性（如 &amp;quot;百花&amp;quot;）。 它的字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在一半左右，尤其是那些最受推崇的散文和文集。 &amp;quot;春光灿烂 &amp;quot;一开始并没有明确的主题，它的创作场合或动机直到接近尾声时我才明白。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:23, 9 December 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
The visualization with which the text begins juxtaposes a dawn construction scene complete with a handsome, rugged construction worker in Tian’anmen square with author’s memories of other occasions when he was ”right here, in this spot!” including most significantly, a vision of a Japanese tank rolling up from Qianmen, its treads gouging scars in the ground.  Liu also includes memories of the entry of the People’s Liberation Army into Beijing, and the ceremony at which Mao Zedong officially established the People’s Republic, but the author moves from one impression-layer to the next vaguely and ambiguously, punctuated with the refrain ”Here! It was right here!”&lt;br /&gt;
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这篇文章以视觉化形式开始，黎明时分，建筑工地上有一个帅气但是衣服破烂的建筑工人在天安门，伴随着作者其他场景的记忆，当他就在“那里，那个位置！”其中就一个很重要的回忆是，一个日本坦克从乾门进入，经过断层泥的地板。刘白羽还有些记忆是关于人民解放军回北京，和毛泽东宣布中国人民共和国成立大典的开幕式，但是作者仅是从一个印象层模糊的转到下一个，吃力的说：“那儿，就在那。”--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:18, 11 December 2020 (UTC)&lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
Liu makes a conspicuous gesture away from the scene of Tian’anmen to other significant spaces including oilfields in the Western deserts, a poignant scene of a mother sending her son off to the Korean war, Anshan the ”city of steel,” a humble Party meeting among lumberjacks taking place in a shack deep in the forest far from Beijing, and other sites of significant material and spiritual progress in the PRC.  As the essay progresses, a new motif is picked up from the contemporary Tian’anmen scene and repeated with increasing frequency:  the ”radiant red face and brilliant eyes” of the young socialist citizens whose verbal pictures Liu paints.  There is much hyperbole and the extraordinary breadth of subject matter, convering ten years of socialist achievement packaged in spatial-visual tableaux, like a memorial display case or monument, which was the usual strategy of essays and reportage about the Korean War.&lt;br /&gt;
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刘白羽很明显地从天安门这一场景转向其他的景色描写，包括西部沙漠的油田，一个母亲送别儿子去参加朝鲜战争的辛酸场景，“钢都”鞍山，远离北京的深山密林中召开的一次党员会议以及其他的中国的重要的物质遗迹以及以及精神进步。随着文章的不断推进，一个新的主题从当代天安门的场景中产生，并以越来越高的频率重复着。在刘白羽的描述中，年轻的社会主义公民“红光满面，双眼炯炯有神”的口头画面。夸张的成分越多，题材的广度就非同一般，将十年的社会主义成就用空间和视觉的表象来包装起来，就像纪念展柜或纪念碑一样，这是有关朝鲜战争的文章和报道的惯用策略。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 10:52, 11 December 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
Despite the desire to come into close contact with the masses through genuine experiences, it was more common for writers to come into contact with workers, peasants and soldiers through the organizational activities and connections of the Communist Party.  In Liu Baiyu’s essays from the 1950s and 60s, you can feel the author incongruously straining to make the most of his experience (straining to maximize its feeling of authenticity) and the characters he describes.[	”Xie zai taiyang chu sheng de shihou” (Written as the Sun Begins to Rise), Hong manao ji 34-52 [written 1959?]. ]  On the level of subject matter, since the (model) workers etc. he writes about are models and leaders, already part of the (embodiments of the) local Communist Party administrative apparatus, they too are straining to give the correct impression, put the right spin on their experiences and ideas, to behave in the way expected of them.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
'''Qin Mu'''&lt;br /&gt;
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Qin Mu’s case might be distinguishable from the others by virtue of the fact that he established himself as a satirical (zawen) columnist during the civil war, and of course satire in general had to go after 1949.[	Interestingly, Qin Mu continued to write zawen in the 1950s and beyond, publishing a very popular collection in 1960 entitled Yihai shibei (Gathering Shells by the Sea of Art).  By then Qin’s zawen were not combative, but expository in nature, reflections on principles of artistic creation, so in a way Qin had redefined the zawen genre for himself.  The sanwen collection Hua cheng was published at roughly the same time as Yihai shibei and was distinguished by the author himself as ”more lyrical” than the ”expository” pieces in Yihai shibei.  Comparing the essays therein with those of Hua cheng, one is struck by formal differences (the Yihai shibei pieces are much shorter than those in Hua cheng) and by the almost complete lack of figurative or descriptive language in Yihai shibei.  However difficult it might be for us to define the differences between zawen and sanwen now, it seems clear that Qin Mu had a clear idea in his own literary practice.]  Fortunately he had been accustomed to making fun of Americans and the Guomindang which continued to be safe and politically correct targets in the 1950s, but he had to find positive things to write about as well, and considering his background and the ambiguity of his relationship with the Communist Party, this must have been a difficult transition for him, more difficult than it was for those who were already linked up with the party for years in Yan’an and other base areas.&lt;br /&gt;
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秦牧的情况可能与其他人有所区别，因为他在内战期间确立了自己的讽刺专栏作家的地位，当然讽刺一般都要在1949年以后才开始。[有趣的是，秦牧在1950年代及以后继续写杂文，1960年出版了一本很受欢迎的诗集，名为《逸海市北》（艺术之海收集贝壳）。此时的秦杂文不是好斗的，而是本质上的说明文，是对艺术创作原则的反思，在某种程度上，秦对杂文体裁进行了重新定义。三文集《华城》与《逸海市北》大致同一时间出版，作者认为《华城集》比《逸海市北》中的“说明文”作品“更抒情”。与《华城》的散文相比，形式上的差异（亦海市北比《华城》短得多）以及《沂海市北》几乎完全没有比喻或描写的语言。不管现在如何界定扎文和三文之间的区别有多困难，秦穆在自己的文学实践中似乎有一个清晰的想法。]幸运的是，他习惯于取笑美国人和20世纪50年代仍然是安全和政治正确目标的国民党，但他必须找到积极的一面写的东西也要写，考虑到他的背景并且与共产党交好，这对他来说一定是一个艰难的过渡，比那些在延安等根据地已经与党联系多年的人来说，难度更大。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:46, 13 December 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
In his 1960 essay ”Earth,” (Tudi), Qin Mu makes a figurative connection between earth how handfuls of earth can serve as symbols of wealth, power, sovereignty, political positions.  Part of the visualization involves (like Liu Baiyu) aerial views.  As war with its arial reconnaisance and bombing transformed the concept of China’s space into a contiguous whole rather than a network of locales, the wider availability of air travel in the 1950s added a visual dimension to this contiguity that reinforces the connection between earth, China’s physical expance, the map of China, and the concept of nation:&lt;br /&gt;
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秦牧在他1960年发表的论文《地球》（土地）中，将地球上的少数几个人如何象征着财富，权力，主权，政治地位作为形象的联系。 可视化的一部分涉及（如刘白玉）鸟瞰图。 随着战争的轰炸和轰炸将中国空间的概念转变为一个连续的整体，而不是一个地点网络，1950年代更广泛的航空旅行为这种连续性增加了视觉上的意义，从而加强了地球与中国物质扩张、中国地图和国家概念之间的联系 。&lt;br /&gt;
--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:57, 9 December 2020 (UTC)&lt;br /&gt;
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在他1960年的文章《土地》中，秦牧把土地比喻成财富、权力、主权和政治地位的象征。部分可视化包括(如刘白玉)空中视图。随着战争的勘察和轰炸，中国的太空的概念转变成一个连续的整体,而不是一个地区的网络,航空旅行的更广泛的可用性在1950年代增加了一个视觉维度，强化了地球之间的联系,中国物质扩张,中国的地图,和国家的概念:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:11, 9 December 2020 (UTC)&lt;br /&gt;
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秦牧在1960年的文章《地球》（Tudi）中，将地球如何撮合成财富、权力、主权、政治立场的象征做了形象化的联系。 部分视觉化涉及（像刘白羽一样）鸟瞰图。 由于战争的侦察和轰炸将中国的空间概念转化为一个连续的整体，而不是一个地点网络，20世纪50年代更广泛的航空旅行为这种连续性增加了一个视觉维度，加强了地球、中国的物理扩张、中国地图和国家概念之间的联系。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:47, 9 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
Once I gazed out an airplane window straight down upon the Pearl River delta; the heavens were crystal clear and I looked down and couldn’t help but cheer out loud because the Pearl River delta looked so magnificent that words couldn’t even describe it.  The network of rivers and lakes shimmered in the sunlight while the earth looked like a piece of dark green velvet.  The roads seemed as straight as if they had been sliced with a knife while the fields looked as neat as a chessboard.  Wow!  A hundred thousand years ago people looked to the skies for gods and miracles, but today the real miracle is taking place on the earth below.[	Qin Mu, Hua cheng (Guangzhou:  Zuojia chubanshe, 1961) 17-18.]&lt;br /&gt;
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一次，透过飞机窗外，我凝视着珠江三角洲：天空清澈见底，我低头一看，不禁大声欢呼起来，因为珠江三角洲看起来壮观无比，简直无可言喻。河流和湖泊交织着在阳光下闪烁，而大地看起来像一块深绿色的天鹅绒。道路看起来笔直的像是用刀子划的一样，而田野看起来像棋盘一样整齐。哇！十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹发生在地下。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:51, 11 December 2020 (UTC)&lt;br /&gt;
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有一次，我透过飞机的窗户凝视着珠江三角洲;天上一片清澈，我低头一看，不禁欢呼起来，因为珠江三角洲是如此的壮丽，无法用语言来形容。河流和湖泊交织在阳光下闪闪发光，而大地看起来就像一块深绿色的天鹅绒。道路笔直得好似用刀划过一样，田野整齐得像棋盘一样。哇!十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹就发生在这片土地下。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:45, 12 December 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
Many of Qin Mu’s essays in the collection Hua cheng (City of Flowers) imaginatively recreate an (occasionally ancient) historical scene, in a specific place the essay focuses on that the author is observing today (or at least gives that  impression) like Liu Baiyu’s ”right here on this spot” refrain.  In his 1956 essay ”Lyric on the Altar of the God of Grain,” the earthen, square altar referred to in the title is in Zhongshan park in Beijing, and was where aristocrats were traditionally enfoeffed by the emperor.[	Qin, 21-31.]  In many ways, this is a continuation of the previous essay (”Earth”), extending reflections on the material symbolism of earth and the glorious wisdom of the ancients.&lt;br /&gt;
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在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再现了一个历史场景（有时是古代的），即作者如今仍能观察到的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，是传统上皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是对前一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:22, 10 December 2020 (UTC)&lt;br /&gt;
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在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再创造一个历史场景（有时是古代的），即作者如今正在观察的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，在古代是皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是上一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:42, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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This essay distinguishes itself by its relentless return to the altar itself, its self-conscious admiration of the brilliance of the ancients (with overtones of ethnic and cultural pride and reconciliation with the premodern culture of China) as well as a shrilly specific emphasis on unity as territorial sovereignty (”Once we liberate Taiwan and a few coastal islands, [our territorial] unity’s scope will be even more unprecedented.” 30)&lt;br /&gt;
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Qin Mu is at his most characteristic, though, in writing educational essays (zhishi xiaopin).  Also known as scientific xiaopin, the character of such writings would seem to be defined by their subject matter. [	Another writer of the post-Hundred Flowers period that writes a lot in this vein is Ma Nancun (Deng Tuo), whose popular Yanshan yehua column in Beijing Wanbao lasted for years and was published in four volumes in book form.]  But I would like to suggest that the transmission of modern scientific knowledge in these texts is not an end in itself, but rather one answer to the question of ”what to write about?” in socialist sanwen.  And it conveys (in addition to the knowledge or information), a certain scientistic, post-industrial atmosphere of enthusiasm that is a style as much as content.&lt;br /&gt;
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这篇文章的与众不同之处在于，它不遗余力地回到祭坛本身，自觉地仰慕古人的辉煌(带有民族和文化自豪感以及与中国前现代文化结合的色彩)，且明确强调领土的主权统一。(&amp;quot;一旦我们解放台湾和几个沿海岛屿，[我们的领土]统一的范围将更加空前绝后&amp;quot;。30)&lt;br /&gt;
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秦牧最有特色的是教育随笔（知识小品），也被称为科学随笔，这种随笔的特点由其主题决定。[ 百花齐放·百家争鸣期后，另一位在这方面写作较多的作家是马南邨(邓拓)，他在北京晚报上的《燕山夜话》专栏持续多年撰写文章，并出版了四卷书。] 但我想说的是，在这些文字中传递现代科学知识本身并不是目的，而是对社会散文中 &amp;quot;写什么？&amp;quot;这个问题的一个回答。而且它传达的（除了知识或信息外）是某种科学的、后工业化的热情环境，它展示风格的同时，也表达了内容。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
Qin Mu’s ”Xing xia” (Under the Stars, 1958)[	Qin, 49-60.] begins as a sweeping exploration of stars, moving from the universal experience of gazing at the skies and wondering about the questions of existence to the cultural perspectives of the beliefs and lore of the ancients and finally to the scientific perspective of the astronomical knowledge gathered in recent centuries, decades and years that confirm the author’s faith in science and industrial modernity.  The scientific knowledge in fact becomes a context or background against which to look back with some disdain at the superstitious quality of premodern beliefs, not only about the structure of the cosmos, but the extensions of such speculation into areas of human destiny and supernatural beliefs.&lt;br /&gt;
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秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式开始，从凝视天空、疑惑存在问题的普遍经验，到古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:33, 10 December 2020 (UTC)&lt;br /&gt;
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秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式作为开端，然后写到凝视天空、疑惑存在问题的普遍经验，又至古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Reading this essay one can see that one of the keys to Qin Mu’s popularity lay not in his conspicuously Marxist-Leninist politics, but in his sweeping, timeless, universal and seemingly all-inclusive scope of vision and contemplation.  Many or most of his essays give an exhilarating sense of vastness.&lt;br /&gt;
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But this essay does not reach its completion without being recontained, as are Yang Shuo’s landscape meditations, in a political context.  Written in the early years of Soviet space exploration, it seems obvious to Qin Mu that Soviet success in this area and the US’s failure is a clear sign of the direction of history.  He argues with almost excessive rhetorical force that the failure of space exploration and science in general under capitalism signifies the inability of the capitalist world view to free itself from outmoded beliefs, while socialism is easily and innocently aligned with scientific achievement and progress.&lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
Qin Mu’s often shrill diatribes on historical materialism and Marxism-Leninism in educational essays (zhishi xiaopin) like this one, or about the history of overseas Chinese or the cosmic theories of warring states philosophers is an incongruous, inverted reflection of Qin’s perennial status as an outsider to the PRC socialist literary orthodoxy, being victimized by literary officials like Liu Baiyu in the anti-rightist campaign and only being admitted to the Communist Party in 1962.  It is in his attempts to contain an ambitious gaze that can encompass human and natural history and the furthest reaches of space in a historicized polemic about the supremacy of Marxism-Leninism in the post war years that the incongruity of Qin Mu’s lyricism manifests itself.&lt;br /&gt;
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秦牧经常在教育论文中这样尖锐地抨击历史唯物主义和马列主义(知识小品文)，或海外华人史或战国哲学家的宇宙理论，认为这是一个不协调的，颠倒的反映。秦牧作为中国社会主义中正统的局外人，在反右运动中遭到刘白宇这样的文学官员迫害，直到1962年才被共产党接纳。他试图以一个包罗万象的视角，用抒情的方式表达对战后马克思主义主导地位的辩驳。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:59, 13 December 2020 (UTC)&lt;br /&gt;
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秦牧在这样的教育论文（知识小品）中，经常尖锐地抨击历史唯物主义和马列主义，或是关于华侨历史或战国哲人的宇宙理论，认为这些是不协调的。秦牧作为中国社会主义文学正统派的局外人，在反右运动中受到刘白羽等文学官员的迫害，直到1962年才被共产党接纳。正是在他试图在一场关于战后马列主义至高无上的历史化论战中，包含一种能够涵盖人类历史和自然历史以及最遥远的空间的雄心勃勃的目光，秦牧抒情诗的不协调性才得以体现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 13 December 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
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The question of whether the ”real” world corresponds to the world these authors describe and narrate is moot; through the act of seeing or imagining the world as they do, they helped create the socialist world.  These authors did not slavishly obey orders, writing from formulae they were provided by superiors and other writers; they willingly engaged in the procedures of research and composition that were part and parcel of communist education and literary practice; what they wrote followed from their training, it was the logical and organic extension of that training.  They helped write the socialist world into existence.&lt;br /&gt;
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'''结论'''&lt;br /&gt;
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&amp;quot;真实&amp;quot;世界是否与作者们描述和叙述的世界相符，这个问题是无意义的；通过观察或者想象这个世界，他们帮助创造了社会主义世界。这些作者不盲目地服从命令，按照上级和其他的作者提供的公式写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。作者们所写的是训练之后的结果，是训练的逻辑和有机的延伸。他们帮助建立了社会主义世界。&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
Slavoj Zizek’s interpretation of Pascal that belief can actually emerge from deliberately going through the motions of ritual and imitating the faithful, and Zizek’s further point that ”reality” in any society is produced by ideological fantasies peculiar to it, suggest a similar interpretation of socialist sanwen.[	Slavoj Zizek, The Sublime Object  of Ideology (London:  Verso, 1989) 38-43.]  Going through the ritual motions of faith, the individual already believes without realizing it, he argues, and then it is only a matter of time before that belief gradually takes control of the conscious mind.  But within that ideological fantasy that is the representation of social reality, there are at the fringes and in the shadows suggestions of the impossibility of the vision.  What I have referred to as the ”incongruous” in Yang Shuo, Liu Baiyu and Qin Mu are those almost unconscious suggestions tainting the pristine vision.&lt;br /&gt;
==Kong Yanan 孔亚楠==&lt;br /&gt;
Reading literature from the first seventeen years of the People’s Republic of China requires as much attention to practices within the socialist orthodoxy as to dissidents and victims.  Against the prevalent view that socialist literary culture in China was a self-contained system introduced from the Soviet Union as if into a vacuum, socialist sanwen speaks to the mutability of that literary culture and the voice of individual writers in its development, however much sanwen may have been used for propaganda and indoctrination, it retained an ambiguity and reserve inherent in the genre since before the War gainst Japan.  Above all, I think this speaks to the enormous importance of various forms of sanwen in modern Chinese literary culture in general, and any general apprach to the modernn Chinese essay must further explore the legacy of socialist sanwen, particularly as today’s sanwen writers for the most part read the works of Yang Shuo, Liu Baiyu and Qin Mu in their middle school textbooks.&lt;br /&gt;
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中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是中国的社会主义文学是从苏联引进的一个真空的封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:59, 12 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
'''Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place ''' [	This article is an extended version of the paper “The Self in the Landscape: Chinese Essays of Place in the Republican Era (1912-1949)” delivered at the conference The Modern Chinese Literary Essay: Defining the Self in the 20th Century, held in Achern, Germany, August 25-27, 2000.]&lt;br /&gt;
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''Alexandra R. Wagner''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
Zhu Ziqing’s “The Qinhuai River Amidst the Sound of Oars and Shadows of Lamps” (Jiangsheng dengyingli de qinhuaihe, 1923), Yu Dafu’s “Spring Day on Diaotai” (Diaotai de chunzhou, 1932), and Fang Lingru’s “Travel Notes from the Langya Mountain” (Langyashan youji, 1936) are three modern Chinese essays in which place and memory serve as the main textual and conceptual elements through which the writers’ negotiation of identity and search for meaning unfolds. Examining these “essays of place” with a focus on the dynamics between place, on the one hand, and personal as well as cultural memory, on the other, challenges the prevailing views of modern travel or landscape essays as either lyrical evocations of scenery, backdrops for personal experiences and thoughts, or sources for information on locations.&lt;br /&gt;
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““作为建构的传统和对现代身份的寻求：对中国现代地方杂文中传统姿态的解读”” [本文是民国时期（1912-1949）中国地方散文《风景中的自我》的扩展版。在2000年8月25日至27日于德国阿彻恩举行的“中国现代文学论文：定义20世纪的自我”会议上发表。亚历山大·瓦格纳（Alexandra R.Wagner）&lt;br /&gt;
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'''摘要''' 朱自清的“桨声与灯影中的秦淮河”（桨声与灯影里的的秦淮河，1923年），郁达夫的“钓台春日”（钓台的春昼，1932），以及方令儒的“琅琊山” （琅琊山游记，1936年）是三篇中国现代散文，其中，地点和记忆是主要的文本和概念元素，通过这些文本和概念，作者进行了身份认同和对意义的寻求。审视这些“地方散文”，一方面侧重于地点与个人记忆以及文化记忆之间的动态关系，另一方面，挑战现代游记或风景散文的主流观点，认为它们要么是对风景的抒情，要么是个人经验和思想的背景，要么是地点信息的来源。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:13, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
The aggregation of cultural and personal memory in these essays foregrounds the skepticism and uncertainty that characterize the mindset of Chinese writers situated in a transitional period moving from tradition to modernity. By questioning apparent meaning and literary convention, the essays are ultimately texts on writing as a continuous and open-ended exploration. &lt;br /&gt;
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Examining the “traditional gestures” central to the essays by Zhu, Yu, and Fang most prominently demonstrates this questioning of apparent meaning. Activities closely tied to places, such as climbing mountains, traversing lakes and rivers, and contemplating past history during visits to ruins and other sites are highly reminiscent of poetic onventions that have informed the long pre-modern literary history of travel and landscape writings.&lt;br /&gt;
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这些文章中文化和个人记忆的聚合，凸显了处于传统向现代过渡时期的中国作家心态的怀疑和不确定性。通过对表面意义和文学传统的质疑，这些文章归根结底是关于写作的文本，是一种持续而开放的探索。&lt;br /&gt;
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审视朱、余、方三家文章中的 &amp;quot;传统姿态&amp;quot;，最突出地体现了这种对表层意义的质疑。与地方密切相关的活动，如爬山、穿越湖泊、河流，以及在参观遗迹等过程中对过去历史的思考等，都让人高度联想到在漫长的前现代文学史上的游记和山水文章的诗学传统。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:41, 9 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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这些文章中文化记忆和个人记忆的聚集，突出了处于从传统向现代过渡时期的中国作家的怀疑和不确定性特征。通过对表面意义和文学传统的质疑，这些文章最终成为关于写作的文本，是一种持续的、开放式的探索。&lt;br /&gt;
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对朱先生、于先生和方先生所著文章的核心“传统手势”的研究，最突出地证明了对表面意义的质疑。与地方紧密相连的活动，如爬山、穿越湖泊和河流，以及在参观遗迹和其他遗址时思考过去的历史，都让人联想到在漫长的前现代文学史的的游记和山水文章的诗学传统。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:19, 9 December 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
As manifestations of cultural memory, such activities are more than simply concrete actions; they are gestures, i.e. “acts made as a sign of attitude.” These traditional gestures suggest an affinity between pre-modern and modern texts, yet at the same time, the essays consistently question the significance and consequence of this apparent affinity. This questioning is achieved, first, by the authors’ encounters with people inhabiting the landscape, second, by introducing elements of imperfection and incompletion throughout the essays, and, third, by the self-referential aspects of the essays.&lt;br /&gt;
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作为文化记忆的表现形式，这些活动不仅仅是具体的行动。它们是手势，也就是“态度表征的行为”。这些传统手势表明了前现代文本和现代文本之间的密切关系，然而，同时这些文章始终对这种明显的亲和力的意义和结果存在质疑。这种质疑的实现，首先是通过作者与居住在这片风景中的人们的相遇；其次，通过在文章中引入不完美和不完善的元素；第三，通过文章的自我参照。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:57, 10 December 2020 (UTC)&lt;br /&gt;
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作为文化记忆的表现形式，这种活动不仅仅是简单的具体行动，而是一种姿态，即 &amp;quot;作为一种态度的标志而做出的行为&amp;quot;。这些传统的姿态暗示了前现代和现代文本之间的密切关系，但与此同时，这些文章一直在质疑这种明显的密切关系的意义和后果。这种质疑的实现，一是通过作者与居住在风景中的人的相遇；二是通过在文章中引入不完美和不完整的元素；三是通过文章的自述来实现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:36, 10 December 2020 (UTC)&lt;br /&gt;
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作为文化记忆的体现，这些活动不仅仅是简单的具体行动； 它们是姿态，即“态度表征的行为”。 这些传统姿态暗示了前现代文本与现代文本之间的亲和力，但与此同时，论文也不断质疑这种明显亲和力的重要性和后果。 首先，作者与居住在风景中的人们相遇，然后是通过在论文中引入不完美和不完整的元素，其次是通过论文的自我参照。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:01, 11 December 2020 (UTC)&lt;br /&gt;
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最为文化记忆的体现形式，这种活动不单单是具体的行动，它们更是一种姿态，也就是“用以表征态度的行为”。这些传统的姿态表明了前现代文本和现代文本之间的密切联系；然而，与此同时，这些文章也在不断地质疑这种表面联系的影响和结果。这种质疑，首先是通过作者与居住在当地的本地人的邂逅；其次是在全文中体现出一些不完美和不完整的因素；最后是通过文章的自我参照这三个步骤来实现的。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
Adopting traditional gestures of contemplating place and past can be seen as an attempt to place the author in a privileged and thus assured position, offering him a way to authoritatively define himself within, yet separate from, his surroundings. However, encounters with people inhabiting the places make the author “interact” with these places. Rather than being objects of perception and contemplation only, places become parts of the perceiving and contemplating subject. The idea of place as distinct from the observer, providing a setting against which he can define himself as well as measure the changing times is deceptive.&lt;br /&gt;
采用传统的姿态来思考地方和过去，可以看作是将作者置于一种特权地位，从而保证他的地位，为其提供了一种根据周围环境给自己定义，但又与之分离的权威方式。然而，与居住在这些地方的人的相遇，使作者与这些地方产生了 &amp;quot;互动&amp;quot;。地方不只是感知和思考的对象，而是成为感知和思考主体的一部分。将地方与观察者区分开来，提供一个环境，让观察者可以据此来定义自己以及衡量时代的变化，这种想法是具有欺骗性的。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:38, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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采用传统的姿态思考地方和过去，可以看作是将作者置于特权以及确定的地位的一种尝试，为其提供一种根据其周围环境，但又脱离其环境然而，给自己定义的权威性的方式。然而，和居住在这些地方的人相遇，使得作者和这些地方有了“互动”。地方除了作为感知和思考的物体，还成为了感知和思考主体的一部分。地点和观察者分离、提供观察者给自己下定义的背景、衡量时代的变化，这些想法都具有欺骗性。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 13:40, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
In addition, elements of imperfection and incompletion disrupt the narrative in these essays and thus similarly question the reliability of traditional gestures in the search for stable definitions of selves. Self-referential aspects of the texts also draw attention to the essays’ constructedness, thus questioning the idea that the texts have a single, accurate (and thus authoritative) interpretation and significance.&lt;br /&gt;
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In sum, an “ironic” reading of the traditional gestures in these essays of place foregrounds the concept of tradition as a vital part and construct needed to engage in a discourse on tradition and modernity from which modern texts ultimately evolve.&lt;br /&gt;
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此外，不完美和不完整的因素扰乱了这些文章的叙述，因此同样质疑传统姿态在寻找稳定的自我定义时的可靠性。文本的自我参照方面也引起了对文章的结构性的关注，从而质疑了文本具有单一、准确（因而具有权威性）的解释和意义的观点。&lt;br /&gt;
总而言之，对这些散文中传统姿态的“讽刺”解读，预示了传统的概念作为现代性话语的一个重要组成部分，现代性最终需要从这一部分演变而来。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 11:57, 11 December 2020 (UTC)&lt;br /&gt;
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此外，不完美和不完整的因素扰乱了这些文章的叙述，从而同样质疑传统姿态在寻求稳定的自我定义方面的可靠性。文本的自我参照性也引起了人们对文章建构性的关注，从而对文本具有单一的、准确的（因为也是权威的）解释和意义的观点提出了质疑。&lt;br /&gt;
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总之，对于这些地方性文章中传统姿态的“讽刺”解读，凸显了传统概念是参与传统与现代文本所需的重要部分和建构，而现代文本最终也是在这个基础上发展起来的。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 09:14, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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Zhu Ziqing’s “The Qinhuai River Amidst Sounds of Oars and Shadows of Lamps” (''Qinhuaihe''), Yu Dafu’s “Spring Day on Diaotai” (''Diaotai''), and Fang Lingru’s “Travel Notes from Langya Mountain” (''Langyashan''), are three notable essays of place in which place and memory serve as the main conceptual elements through which the writers’ negotiation of identity and meaning unfolds.  By questioning apparent meaning and literary convention, the texts become ultimately texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays. &lt;br /&gt;
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In the essays, the authors engage in activities such as climbing mountains, traversing rivers, and contemplating history and historical figures while visiting ruins and other sites. &lt;br /&gt;
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Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译）	&lt;br /&gt;
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Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. &lt;br /&gt;
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Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）&lt;br /&gt;
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In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）&lt;br /&gt;
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朱自清的《浆声灯影里的秦淮河》（《秦淮河》）、郁达夫的《钓鱼台的春昼》（《钓鱼台》）和方令孺的《琅琊山游记》（ 《琅琊山》）是三篇有关地点的著名散文。在这几篇文章中，地点和回忆是主要的概念性元素，作者通过这些元素来具体展开关于身份认同以及具体含义的阐述。通过质疑明显的含义和文学习俗，这些文本最终象征着作者的不懈努力与探索，因此成为了文本的开放性文本。&lt;br /&gt;
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在这几篇散文中，作者在参观历史遗址时都参加了诸如爬山、过河、对历史以及历史人物进行深思的活动。&lt;br /&gt;
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Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译）	&lt;br /&gt;
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Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. &lt;br /&gt;
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Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）&lt;br /&gt;
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In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 11:26, 8 December 2020 (UTC)&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓鱼台上的春昼》（钓鱼台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。&lt;br /&gt;
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在这些散文中，作者在参观遗址和其他地方时，还参与了登山、穿越河流、思考历史和历史人物等活动。&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:52, 9 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台上的春昼》（钓台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:53, 10 December 2020 (UTC)&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台的春昼》（钓台）、方令儒的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:10, 13 December 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
For example, all three essays contain elements reminiscent of the poetic convention of contemplating the past (''huaigu''), often conveying regret over gone times and places. Images exposing the transience of human life in an enduring landscape suggest the writer’s uncertainty about the present and future, implying his desire to find a more lasting place within his existing surroundings.  &lt;br /&gt;
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In their apparent affinity to poetic conventions, traditional gestures seem to promise the writer a degree of authority and certainty in observing and interpreting surroundings and thus in determining his position and role in them. An ''ironic'' understanding and reading of such gestures in Zhu, Yu, and Fang's essays however, exposes the concept of tradition as construct indispensable for a discourse on modernity. &lt;br /&gt;
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Evoking and sharing the cultural memory of place writing, Zhu, Yu, and Fang’s essays not only contain, but also constitute traditional gestures.（文献无需翻译） &lt;br /&gt;
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FFor a concise explication of this poetic convention, see Hans H. Frankel, ''The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry'' (New Haven and London, 1976), chapter 9 “Contemplation of the Past.”（文献无需翻译）&lt;br /&gt;
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例如，这三篇文章都包含了凝视过去的诗学传统的元素（怀古），常常表达对逝去的时光和地方的遗憾。在一幅经久不衰的风景画中，展现人类生命的无常，暗示着作者对现在和未来的不确定性，暗示着他希望在现有的环境中找到一个更永恒的地点。&lt;br /&gt;
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传统的姿态与诗歌的传统有明显的亲近感，它似乎给了作者一定程度的权威性和确定性来观察和解释周围的环境，从而确定自己在其中的定位和角色。然而，通过对朱自清、郁达夫和方灵如的文章中这些姿态的反讽地理解和解读，揭示了传统观念构筑现代性话语所不可或缺的。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 05:50, 13 December 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
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Modern texts evolve from a questioning and reassessment of well-established meaning and value, rather than from a mere rejection of what are perceived to be traditional notions, customs, and ideals. Once tradition is divested of its absolute claim and subject to interpretation and reconstruction, modernity can emerge. &lt;br /&gt;
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Generally, the term “gesture” describes an activity as “something done to convey one’s intentions or attitude.”  The traveler’s activities are more than actions that have an obvious purpose, such as getting to a location or viewing a certain site. Roland Barthes’ notion of gestures in writing and writing as gesture suggests the multiplicity of meaning within essays of place and ultimately bears out the idea of essays of place as texts on writing. In ''The Responsibility of Forms'', Roland Barthes describes “gesture” in art as&lt;br /&gt;
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“Gesture.” Def.2. ''Oxford American Dictionary''. New York: Avon Books, 1980. （文献无需翻译）&lt;br /&gt;
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''The Oxford English Dictionary'' defines “gesture” as “a move or course of action undertaken as an expression of feeling or as a formality; especially a demonstration of friendly feeling, usually with the purpose of eliciting a favorable response from another.” Def.4.b. ''The Oxford English Dictionary''. 2nd Ed. (Clarendon Press: Oxford, 1989).（文献无需翻译）&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
[s]omething like the surplus of an action. The action is transitive, it seeks only to provoke an object, a result; the gesture is the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an atmosphere [. . .]. Hence, let us distinguish the message, which seeks to produce information, and the sign, which seeks to produce an intellection, from the gesture, which produces all the rest (the “surplus”) without necessarily seeking to produce anything. &lt;br /&gt;
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Traversing mountains and lakes are activities with a concrete objective. As “gestures” or “surplus action,” those activities are signs of attitudes that in Zhu, Yu, and Fang’s essays ultimately serve to constantly question and change meaning by providing possibility instead of demarcation of meaning and signification. &lt;br /&gt;
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Barthes, Roland. “''[Readings: Gesture] Cy Twombly: Works on Paper.” The Responsibility of Forms''. By Barthes. Trans. Richard Howard, (Berkeley and Los Angeles: University of California Press, 1985) 160.（文献无需翻译）&lt;br /&gt;
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According to Roland Barthes, every text is ultimately a product of gestures Discussing the work of American painter Cy Twombly (b. 1928), Roland Barthes furthermore says about the workings of gestures:（文献无需翻译）          &lt;br /&gt;
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[t]he artist [ . . . ] is by status an “operator” of gestures: he seeks to produce an effect and at the same time seeks no such thing; the effects he produces he has not obligatorily sought out; they are reversed, inadvertent effects which turn back upon him and thereupon provoke certain modifications, deviations, mitigations of the line, of the stroke. Thus in gesture is abolished the distinction between cause and effect, motivation and goal, expression and persuasion (Barthes 160).（文献无需翻译）&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
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Zhu Ziqing’s ''Qinhuaihe'' describes a pleasure excursion on the Qinhuai River he and his friend Yu Pingbo embark on one summer evening. Singsong girls and their musicians, offering their services to passengers in the roaming boats, provide popular entertainment on the river. Zhu and Yu try to enjoy the atmosphere produced by a combination of natural scenery, history, lantern lights, and sound of oars and of music. Despite mingling with other boats whose passengers happily solicit the singsong girls’ services, they remain passive observers. Zhu's narrative culminates in his and Yu’s direct encounter with the singsong girls, who approach them to solicit business. This encounter mortifies and confounds Zhu, turning the trip into a disconcerting experience. Both Zhu and Yu reject the singsong girls’ solicitations, and soon after the encounter, they head back to the pier.    &lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
Yu Dafu’s ''Diaotai'' describes his travels in the countryside after having hurriedly left Shanghai to avoid being rounded up by Nationalist forces in the spring of 1931. Watching boats taking locals to their ancestral graves, Yu decides to visit his hometown in time for the Qingming festival. After only a few days with relatives and friends however, he becomes restless and leaves for a trip to Diaotai (Fishing Terrace) on Fuchun Mountain. He stops over at Tonglu for the night and despite the late hour climbs Tongjun Mountain located across the river. The next day, Yu visits the memorial hall on Fuchun Mountain dedicated to the Eastern Han recluse Yan Ziling and then climbs the famous Diaotai.&lt;br /&gt;
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郁达夫的《钓台的春昼》一书中，描写了1931年春天他为逃避国民党军队的抓捕，匆匆离开上海后在乡下的旅行的故事。郁达夫看见船只把过世的当地人带回祖墓埋葬，于是他决定在清明节前回到家乡。 然而，与亲戚和朋友团圆几天之后，他变得躁动不安，便前往富春山钓台旅行。 他停留在桐庐过夜，尽管天色已晚，他爬上横跨在河面的桐郡山。 第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:51, 10 December 2020 (UTC)&lt;br /&gt;
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郁达夫的《钓台的春昼》描述了他在1931年春天为避免被国民党军队围捕，匆忙离开上海后在农村的旅行。看着载着当地人去往他们祖坟的船只，郁达夫决定在清明节的时候回家乡看看。然而，在与亲戚朋友相处几天后，他变得焦躁不安，便前往富春山的钓台。他在桐庐停留了一夜，尽管时间已晚，他还是爬上了河对岸的桐君山。第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:50, 10 December 2020 (UTC)&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
Fang Lingru and a group of friends visit various historic sites scattered in the mountains they traverse during a spring outing. The most famous site is the pavilion named by Ouyang Xiu and celebrated in his famous ''An Account of the Pavilion of the Drunken Old Man'' (Zuiweng ting ji).  The group decides to stay overnight at the ''Temple of Cultivation'' (Kaihua si), located deeper in the mountains, and spends the rest of the day touring the mountains and their cultural imprints guided by a monk. In the evening, the friends enjoy the nocturnal atmosphere and quietude of temple and mountains. The next day, the day of the Qingming festival, the group tours two more mountains before returning to Nanjing in the evening.&lt;br /&gt;
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在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜，并在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，又游览了两座山，傍晚时分才返回南京。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 06:36, 10 December 2020 (UTC)&lt;br /&gt;
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在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜。在休息之前，众人在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，大家又游览了两座山，傍晚时分才返回南京。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:48, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
All three essays contain attempts to adopt gestures of contemplating times and places while traversing varied landscapes. Yet, three elements in the essays destabilize significance and consequence of those gestures, undermining their power to confirm identities and signaling the questioning nature of the texts. These three elements are first the authors’ encounters with people inhabiting the landscape, second, elements of incompletion and ambiguity that unsettle the traditional gestures, and, third, as supplementary elements, the essays’ self-referential strategies. The following readings of Zhu, Yu, and Fang’s essays explain and illustrate one of each of these elements respectively.&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
'''Encounters with People in Zhu Ziqing’s Qinhuaihe'''&lt;br /&gt;
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Encounters with people populating the landscape have two effects. First, these encounters force the author to interact with the landscape. It becomes impossible for him to demarcate his position and identity by contemplating places from an autonomous vantage point.  Zhu and Yu’s encounter with the singsong girls is the central human encounter in Zhu’s ''Qinhuaihe''. Initially, the singsong girls’ presence on the river does not appear to displease or disconcert Zhu. However, he maintains this sanguine perception by keeping a distance to the singers’ boats. The distance allows him to assume the traditional gesture of traversing a river to take in and contemplate its scenery and history from an independent viewpoint.&lt;br /&gt;
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It is important to point out that a clear distinction between traveler and landscape does not mean the travelers’ disassociation from his surroundings. Rather it points to the clear demarcation of positions and roles necessary to form a stable unified whole from two distinct units.(文献无需翻译)&lt;br /&gt;
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'''朱自清的《秦淮河》中的相遇'''&lt;br /&gt;
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与居住在风景中的人的相遇有两个效果。首先，这中相遇迫使作者与场景互动。这样他就不能通过从对自己有利的视角来划分自己的位置和身份。 朱自清、郁达夫二人与歌女的相遇，是朱自清《秦淮河》中最核心的人际交往。起初，歌女们在江上的出现，似乎并没有让朱自清感到不快或不安。然而，他通过与歌女们的船保持一定的距离来维持这种乐观的看法。这种距离使他能够以一种传统的姿态在江上穿行，以独立的视角来欣赏和思考江上的风景和历史。&lt;br /&gt;
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需要指出的是，旅行者与风景的明确区分，并不意味着旅行者与周围环境的脱离。相反，它指向的是明确的位置和角色的划分，这对于从两个不同的环境中形成一个稳定的统一整体是必要的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:51, 13 December 2020 (UTC)&lt;br /&gt;
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'“朱自清的《秦淮河》的相遇”&lt;br /&gt;
&lt;br /&gt;
遇到有人居住的景观有两个影响。首先，这些遭遇迫使作者与景观互动。对于他来说，通过从自治的有利位置考虑地点来划分自己的位置和身份变得不可能。朱和俞与歌星女孩的相遇是朱的《秦淮河》中人类的主要相遇。最初，歌星女孩在河上的存在似乎并没有使朱朱感到不悦或不安。但是，他通过与歌手的船保持一定距离来保持这种乐观的感觉。距离使他能够采取传统的穿越河流的姿势，从一个独立的角度来欣赏和思考河流的风景和历史。&lt;br /&gt;
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重要的是要指出，旅行者与风景之间的明显区别并不意味着旅行者与周围环境脱节。相反，它指出了从两个截然不同的单元形成一个稳定的统一整体所需的职位和角色的明确划分。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:05, 13 December 2020 (UTC)Ou Rong&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
The encounter with the singsong girls witnessed by other passengers unsettles gesture and atmosphere. By diminishing the safe distance between writer and observed place (which so far included the singers), the encounter forces Zhu to play an active role in his surroundings. The singers step out of the landscape picture, and Zhu becomes part of the place against his will.&lt;br /&gt;
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Ironically, however, the ensuing interaction nevertheless exposes an unbridgeable gap between author and people inhabiting the landscape. Zhu’s confrontation with the singsong girls reinforces an experience of distance, misapprehension, and alienation rooted in the dilemma of modern intellectuals. &lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
Zhu is both tempted by the offer and ashamed about even entertaining such a sentiment. Being publicly approached by women who sell their services to men and confronting his inner conflicting emotion embarrasses Zhu, who considers himself a moral and modern individual professing to condemn the exploitation of underprivileged social groups. &lt;br /&gt;
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The text moves from the portrayal of external space and atmosphere to a detailed self-dissection of Zhu's psyche and thoughts, a strikingly modern feature. As Zhu's progressive sensibilities interfere with acting out his desire, this psychological passage further disrupts the cohesion of the text as traditional gesture.&lt;br /&gt;
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朱自清受到诱惑的同时又为自己的这种情绪感到羞愧。朱自清自认为是高尚现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪和内心的矛盾情绪，朱自清却感到尴尬。&lt;br /&gt;
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文本从对外部空间和氛围的描写，转向对朱自清的心理和思想细致的自我剖析，具有显著的现代特征。由于朱自清的进步情感干扰了他的欲望的表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:30, 9 December 2020 (UTC)&lt;br /&gt;
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朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代人，会公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，感觉十分尴尬，&lt;br /&gt;
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文本通过对外部空间和氛围的描写，以及对朱自清的内心思想的自我剖析，均具有显著的现代特征。由于朱自清的先进情感干扰了他的欲望表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:05, 9 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
The encounter quickly deflates and undermines Zhu's attempt to adopt traditional gestures, causing confusion and conflict rather than reassurance of positions and identities in the river’s ultimately unpredictable space. Zhu’s experience of place is marked by a tension arising from an attempt to assert his independent position within his surroundings, the futility of the attempt, and the concurrent impossibility to become part of his surroundings.&lt;br /&gt;
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Significantly, only when Zhu’s inner conflict has abated somewhat, he and Yu are rewarded. On their way back, they pass a boat with a solitary singer coming toward them.&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
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The singer is sitting in the bow of the unlit boat, singing only to herself. This unexpected episode has an at least temporarily redeeming quality for Zhu. However, his feeling of contentment lasts only a fleeting instant, and soon he and Yu are back in the bustling amusement district. Importantly, Zhu and Yu do not truly encounter the solitary singer. Possibly, the singer did not even notice them. This brief moment comes closest to successfully adopting a traditional gesture. As long as they maintain a distance, fulfilling the significance of the gesture seems possible. Ultimately however, Zhu, not in control of the gesture, is unable to prolong this moment.&lt;br /&gt;
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歌者坐在没有灯光的船头，只对自己唱歌。这个意外的插曲，对朱棣来说，至少有一种短暂的满足。然而，他的满足感只持续了一瞬间，很快他就和余先生回到了繁华的游乐区。其实朱和宇并没有真正遇到那个孤独的歌手。也有可能歌手根本没有注意到他们。但这短暂的一瞬间最接近传统的姿态。只要他们保持一定的距离，传递这个姿态的意义似乎是可能的。然而最终由于朱先生没有保持好这一姿态，他没能延长这个瞬间。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:49, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
He is left in utter despondency. Threat and intimidation Zhu experiences are signified well by the way he perceives his surroundings immediately after passing the lone singer’s boat. Passing under a tall bridge, it seems to Zhu “as if the darkness was opening its huge mouth, about to swallow [their] boat.”  Zhu is left in a no-man’s-land between private desire and modern awareness.&lt;br /&gt;
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'''Incompletion and Ambiguity in Yu Dafu’s ''Diaotai'''''&lt;br /&gt;
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Elements of incompletion and ambiguity further question the significance of traditional gestures. By unsettling the essay’s narrative, these elements suggest an ironic reading of the texts that undermines the reliability of traditional gestures when searching for stable definitions of selves and surroundings.&lt;br /&gt;
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他陷入了彻底的绝望。朱棣棣所经历的威胁和恐吓，从他经过独唱者的船后立即感知周围环境的方式就可以看出。经过一座高高的桥下，在朱棣看来，&amp;quot;仿佛黑暗张开了巨口，要把他们的船吞掉&amp;quot;。 朱先生在私欲与现代意识之间陷入了无人区。&lt;br /&gt;
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'''郁达夫的''钓鱼台''的不完整与模糊'''&lt;br /&gt;
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不完整和模棱两可的元素进一步质疑传统手势的意义。这些元素使文章的叙事变得不稳定，暗示了对文本的反讽性解读，破坏了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:20, 9 December 2020 (UTC)&lt;br /&gt;
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他陷入了深深的怅惘。经过歌舫后，他立即感知到周围环境变化，从这里就可以看出朱自清所感受到的压迫和不安。船过大中桥时，朱自清写道，&amp;quot;如黑暗张着巨口，要将我们的船吞了下去&amp;quot;。 朱先生在私欲与现代意识之间陷入了无人区。&lt;br /&gt;
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'''郁达夫《钓台的春昼》的不完整性与模糊性'''&lt;br /&gt;
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不完整性和模棱性的要素对传统手势的意义提出更多的质疑。通过打乱文章的叙述方式，这些要素暗示了对文本的反讽性解读，削弱了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:55, 10 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
Obstacles in Yu Dafu’s path paired with a restlessness he experiences in places destabilize the gestures he tries to adopt. The significance of his trip remains ambiguous.&lt;br /&gt;
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The evening before reaching Diaotai, Yu sets out to climb Tongjun Mountain to visit a Daoist temple. Upon disembarking from the ferryboat, he immediately falls over a loose rock on the dark and rugged mountain path. The image of a stumbling Yu on his solitary endeavor to climb the mountain at night is almost comical. His idea to climb the mountain at this hour appears unreasonable and undermines any effect the attempt to adopt a traditional gesture might have.&lt;br /&gt;
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郁达夫道路上的障碍，再加上与他在一些地方感到了不安，这都打破了他之前想要的姿态。他此行的意义依然模糊不清。&lt;br /&gt;
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在到达钓鱼台的前一天傍晚，郁达夫出发去爬桐君山，去一座道观。一下了渡船，在一条崎岖漆黑的山路上，他摔倒在了一块松动的石头上。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也打破了他想要的任何意义。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:19, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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出现在郁达夫道路上的障碍，再加上他在一些地方感到的不安，都打破了他之前想要的姿态。他此行的意义依然模糊不清。&lt;br /&gt;
&lt;br /&gt;
在到达钓鱼台的前一天傍晚，为了参观一座道观，郁达夫出发去爬桐君山。一下了渡船，在一条崎岖漆黑的山路上，他被一块松动的石头绊倒了。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也破坏了采用传统姿态可能产生的任何影响。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:38, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
The ferryman hands Yu a pack of matches to help him find the way. At first, Yu is “groping [his] way up the mountain,”  but as he approaches the top, moonlight begins to illuminate his path. A vast sky and a broad vista into the distance and onto the town seem to increase Yu’s chances of adopting the traditional gesture of contemplating place and past. As he approaches the temple however, an apparently locked gate in the low wall surrounding it obstructs Yu’s progress. After pacing up and down for a while not knowing what to do, he finally tries the gate, and surprisingly it opens. Ironically, Yu’s trip is delayed and almost cut short not by a locked gate but by his indecision and hesitation.&lt;br /&gt;
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渡船人递给他一包火柴帮他找路。一开始，郁正“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。辽阔的天空和小镇的广阔景色似乎增加了郁采用传统方式思考地方和过去的机会。然而，当他走近庙宇时，四周低矮的墙壁中一扇明显锁着的门阻碍了他的前进。在不知所措地踱来踱去后，他最终尝试开门，而门惊喜地被打开了。更具有讽刺意味的是郁的行程延误，不是因为一扇紧锁的大门，而是因为他的犹豫不决。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:29, 13 December 2020 (UTC)&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
Although he finds the temple gates indeed securely shut for the night, Yu is at this point quite content to sit on the wall adjacent to the gate from where he can overlook the river and enjoy the scenery. He gazes at the stars, clouds, and moon above and the lights of the boats below gently wavering in the wind. At last, Yu’s position allows him to contemplate place and past from an elevated and independent vantage point. The unparalleled scenery of Tongjun Mountain inspires Yu to contemplate the lives of the Eastern Han (25-220 A.D.) recluse Yan Ziling and that of the two Dai brothers, Dai Bo and Dai Yong of the Easter Jin (317-420), who made this area their home.&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
Yu fully appreciates and identifies with their decision to lead a hermit’s life foreshadowing his own life of seclusion soon to begin. The clapper of the night watch in town finally wakes Yu to reality. Startled, he runs back head over heels to the boat. This abrupt ending to Yu’s reverie and his sudden anxiety to get back to the boat sharply contrast with the reflective atmosphere and sentiment of the passage. The traditional gesture is abruptly terminated. Like the clapper startling Yu, this abrupt ending to the nightly scene startles the reader.&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
On the boat to Diaotai, Yu, tired from admiring the scenery, falls asleep and dreams of a gathering with some old friends in an inn along the river. The text does not make it explicitly clear that Yu is dreaming. This becomes fully clear only when the boatman wakes Yu as they approach Diaotai. &lt;br /&gt;
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在去钓鱼台的船上，赏风景赏累了，他睡着了，梦见和几个老朋友在河边的客栈里聚会。文中并没有明确表示郁达夫是在做梦，只有当船夫在接近钓鱼台的时候把他叫醒，这才变得完全清楚。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:48, 13 December 2020 (UTC)&lt;br /&gt;
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In his dream, the friends chat and make merry, but after all has been said and done, the atmosphere turns cheerless and awkward. At the center of the dream is a poem Yu composed a few years ago at a similar occasion. It is a political poem written in traditional septa-syllabic regulated verse style, lamenting the chaotic state of the country and expressing the dissatisfaction of intellectuals with the government.&lt;br /&gt;
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在他的梦里，朋友们聊天，嬉戏，但这一切都结束后，气氛变得不愉快和尴尬起来。梦的中心是一首郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，哀叹国家的混乱状态，表达知识分子对政府的不满。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:48, 13 December 2020 (UTC)&lt;br /&gt;
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在去钓鱼台的船上，郁达夫疲于赏景，而后进入梦乡。他梦见和几个老朋友在河边的客栈里聚会。文中并未表明这是郁达夫在做梦，只有当船夫在临近钓鱼台叫醒他时，一切才水落石出。&lt;br /&gt;
在他的梦境里，朋友们一起聊天、嬉戏，但当一切都结束后，气氛变得无趣且尴尬。梦的中心出现郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，其哀叹国家的混沌，表达知识分子对政府部门的不满。&lt;br /&gt;
--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:42, 13 December 2020 (UTC)&lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
One prominent traditional image in the poem is the loyal official who, “feigning madness,” (yang kuang) speaks the truth that goes unheeded. Here, a well-known traditional gesture is embedded in a text within a text. Before the gesture can come to full fruition, however, it is again terminated, this time by the boatman who wakes Yu.&lt;br /&gt;
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在这首诗中，一个突出的传统形象是这个忠诚的官员，他假装疯狂（佯狂）地说出了未被注意的真理。这里，一个众所众知的传统手势被嵌入到文本中的文本中。然而，在做这个手势之前，他这一次再次被叫醒于的船夫终止了。&lt;br /&gt;
Significantly, Yu's perception of his surrounding has completely changed. Before falling asleep, he saw green mountains encasing the clear river and sandbanks with blossoming flowers; in short, tranquil and picturesque scenery. As the boat approaches Diaotai, however, “river and mountain scenery all around had suddenly changed.” (文献无需翻译)&lt;br /&gt;
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很明显，于对他周围的看法改变了。在入睡之前，他看见连绵的青山环绕清澈的河流，沙洲上百花盛开，总之就是一幅祥和的如画风景。然而，当船接近钓台时，周围的山水画已经不知不觉间改变了。&lt;br /&gt;
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Zhu Ziqing, “Jiangsheng dengyingli de qinhuaihe,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 95.(文献无需翻译)&lt;br /&gt;
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Yu Dafu, “Diaotai de chunzhou,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 204.&lt;br /&gt;
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Yu Dafu, 206(文献无需翻译)--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 10:44, 13 December 2020 (UTC)&lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
The river has narrowed and the mountains have moved extremely close, “as if ahead was no further way.”  The towering mountains create an oppressively lonely atmosphere, in which even the sound of the oars seems disheartened; the echo is audible only after a long while, amplifying the “ancient silence,” the “silence of extinction”  enveloping the boat. The sun is gone, and only a soughing wind comes and goes. &lt;br /&gt;
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The surrounding has turned ominous. Yu’s anticipation turns into apprehension. Compared to his reverie on Tongjun Mountain, Yu now perceives Diaotai as desolate and gloomy, eerily echoing the chaos and tumult evoked in his poem. He describes dilapidated stone structures overgrown with weeds.&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
Approaching Yan Ziling’s ancestral hall, now no more than decrepit walls and broken tiles, Yu begins to feel “a little afraid, afraid to encounter the ghost of Master Yan, old and dried-up like strips from a towel gourd.”  Yu’s rapidly growing skepticism and discomfort upon approaching the setting further suggest the impossibility to find meaning and identity by adopting traditional gestures in places.&lt;br /&gt;
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On the Fishing Terrace, Yu is curiously reminded of a postcard depicting the William Tell Memorial Hall and its scenery in Switzerland. The colors of mountains and rivers he sees from Diaotai are strikingly similar to those on the “collotype postcard.”&lt;br /&gt;
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==Meng Ying 孟莹==&lt;br /&gt;
However, in the scenery he views from Diaotai, “the variations are a little greater, the surrounding in all directions is just a little more jumbled and chaotic, that’s all, but this is actually a plus, enough to represent the East’s desolate beauty of national degeneration.”  Ironically, Yu’s comparison between the postcard picture and his view stresses the similarities between the colors of the landscapes only. He views a place that in its very structure carries the marks of present crisis. Associating his description of the scenery with Switzerland generally associated with national stability and social order only intensifies the image of national chaos and debility. &lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
Superficially conforming to the traditional gesture of contemplating (and lamenting) place and past, the comparison here is not one between present and past, but one between two presents. Yu's view evokes scenery on a foreign postcard, which in its modern photographic quality and miniature size cannot evoke the past, challenging the idea of a traditional gesture. &lt;br /&gt;
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After having had some wine in the hall, Yu walks up to the Buddhist shrine whose derelict walls are covered with poems, most of them of poor quality. In a corner near the ceiling, he finds an inscription by the Qing loyalist and fellow villager Xia Lingfeng (Xia Zhenwu, 1854-1930), whose commitment Yu admires despite objecting to Xia’s political convictions. Yu inscribes the poem from his dream next to Xia’s.&lt;br /&gt;
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这里的对比并非介于今昔之间，而是两个现在时间的对比，从表面上看，这与传统的伤怀表达方式不谋而合。余想起了外国明信片上的风景，其现代摄影质量和微型尺寸无法唤起过去，因而挑战了传统的表达方式。&lt;br /&gt;
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在祠堂里喝了点酒后，俞走到佛龛前，佛龛斑驳的墙壁上满是诗词，其中大部分文采平平。在天花板附近的一个角落里，他发现了一首由夏灵凤（夏振武，1854-1930）题的词，夏灵凤是清朝的拥护者，也是本村的村民。尽管余反对夏灵凤的政治信念，但他仍然钦佩他的忠诚。因而余在夏灵凤的词旁边也作了一首诗。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:32, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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虽然表面上符合传统的伤怀表现手法，但这里并非今昔对比，而是两个现时的比较。余秋雨的观点让人联想到外国明信片上的风景，以其现代摄影的质量和微型尺寸无法唤起过去，挑战了传统的表达方式。&lt;br /&gt;
&lt;br /&gt;
在祠堂里喝了点酒后，余秋雨走到佛龛前，佛堂废弃的墙壁上挂满了诗词，其中大都文采平平。在天花板附近的一个角落里，他发现了清朝忠臣、同乡夏灵凤（夏振武，1854-1930）的题词，虽反对夏的政治立场，但他还是很欣赏夏的忠诚，因将梦中的诗词题在夏的旁边。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 07:05, 10 December 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
Initially, Yu's act of inscribing the poem suggests that he sympathizes and identifies with Xia. However, since Yu does object to the substance of Xia’s ideals and motives, the gesture of writing a poem next to Xia’s only stresses the ambiguity of such an act. With the gesture of inscribing his poem along with others of inferior quality and next to that of a Qing loyalist Yu willingly obscures his own political stance and inadvertently questions the relevance of his act. The traditional-style poem placed in an obscure corner on the wall as one among many is ineffective, and the gesture of inscribing it loses its significance. Yu’s position and role in his time and place remains ambiguous and difficult to define. Ironically, while Yu’s essay saves the poem and its context from obscurity, it also exposes the very ambiguity of his act.&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
'''Self-referential strategy in Fang Lingru’s ''Langyashan'''''&lt;br /&gt;
&lt;br /&gt;
By foregrounding a texts’ constructedness, self-referential strategies question the idea of a texts’ definite and authoritative meaning. Suggesting the texts’ plurality of meaning further substantiates their significance in negotiating perspectives, positions, and identities.&lt;br /&gt;
&lt;br /&gt;
Concluding the narration of her two-day trip, Fang Lingru writes: “There are still many more scenic spots and ancient sites on Langya Mountain; if it’s meant to be, I’ll come another time to visit again. ''There is nothing more I can add to this piece'' (my emphasis).”  &lt;br /&gt;
&lt;br /&gt;
Fang Lingru, “Langyashan youji,” ''Zhongguo xiandai youji xuan'', eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 148.&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
Yet, she goes on to recommend a particular dish and wine the group had at a restaurant in Chuzhou before returning to Nanjing. This rather banal and anticlimactic addendum to her narrative is then followed by two more paragraphs, describing her sentiments upon returning home. &lt;br /&gt;
&lt;br /&gt;
When I got home, it was already ten o’clock at night, and a fine drizzle filled the air. Just before leaving, the old monk Shangkuan had tied three Spring Azalea sprigs to my rickshaw, which I planted immediately upon coming home. Now the twigs have already developed tender sprouts; by this time next year, they will blossom. XX named them “Bodhi Shangkuan.”&lt;br /&gt;
&lt;br /&gt;
然而，在返回南京之前，她继续推荐该伙人在滁州一家饭店享用过的特殊菜肴和美酒。然后，在她叙述的这个平淡而滑稽的附录中再加上了两段，描述了她回家后的情绪。&lt;br /&gt;
&lt;br /&gt;
当我回到家时，已经是晚上十点了，细雨蒙蒙。临走时，老和尚尚宽把三只杜鹃花春天的小树枝绑在了我的人力车上，我刚回家时就把它们种了下来。现在，树枝已经长出嫩芽了。到明年这个时候，它们将会开花。 XX将其命名为“菩提上宽”。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:02, 13 December 2020 (UTC)Ou Rong&lt;br /&gt;
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然而，在返回南京前，她继续给这些人推荐他们此前在滁州一家饭店已经吃过的特别菜肴和美酒。她的叙述非常乏味且跟着一个虎头蛇尾的附录。之后，这段叙述之后又加了两端来描写她回家后的感受。&lt;br /&gt;
当我回到家，已经深夜十点了，且下着淅淅沥沥的小雨。在离开前，老和尚上宽把三个春季的杜鹃花小枝绑在了我的人力车上，一回家我就立即把它们种了。现在，这些小枝已经长出嫩芽了。明年这个时候，它们就会开花了。XX给其取名为“菩提上宽”--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:06, 13 December 2020 (UTC)&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
I’ve been feeling extremely tired lately, but thinking back to the trip into the mountains, I can say that it was flawless, and I have no regrets.  &lt;br /&gt;
&lt;br /&gt;
It is a cliché to state at the end of a text that nothing can be added. Fang’s appended restaurant and food recommendation suggests her eagerness to relate every detail from the trip. However, extending her narrative by two paragraphs, she effectively contradicts her own assertion that everything worth saying has been said. This contradiction and the contrast between her matter-of-fact-style in which she ostensibly ends the essay and the intimate tone and personal content of the concluding paragraphs highlight the act of writing and constructing the text.&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
The final paragraphs further question the effect of adopting traditional gestures to find stable meaning and purpose in and through one’s surroundings. For Fang the gesture of translating visits to sites and ruins into detailed description evoke the past is not sufficient. Her encounter with the monk ultimately renders her experience on Langya Mountain significant. The flowers she received from him signify the possibility of growth, nurturing, and encouragement. By contrast, the significance of the sites themselves remains ambiguous.&lt;br /&gt;
&lt;br /&gt;
文中最后几段，方令孺进一步质疑了传统手势的效果，在传统手势中，文章的意义和目的仅仅通过环境体现出来。对方令孺来说，如果运用简单的翻译手势，只是详细描述到访的琅琊山遗址是远远不够的，因为与那名僧人的相遇才是她琅琊山一行最有意义的事情，她从僧人那里收到的花代表着生长的可能性、象征着养护和激励，相比之下，琅琊山遗址本身的意义确是模糊不清的。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:49, 10 December 2020 (UTC)Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
在文中最后几段，方令孺进一步质疑了采用传统手势在环境中寻找稳定意义和目的而产生的效果。对方令孺来说，只对到访的琅琊山遗址进行详细描述是远远不够的。遇见这名僧人让她的琅琊山一行意义非凡。她从僧人那里收到的花象征着成长、呵护和鼓励。相比之下，琅琊山遗址本身的意义仍然是模糊的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:54, 11 December 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
The last two paragraphs of Fang’s essay complete the framework of personal reflection that encases the largely dispassionate narration of her trip. Personal memory is the ultimate locus of meaningful experience and the creative force underlying the essay. Exhausting facts and details in representing an experience does not bring a text to its end despite assertions to the contrary. Fang’s last sentence suggests that remembering the trip in close connection with the human encounter constitutes a source of satisfaction for her, rather than the emulation of traditional gestures that seem to promise an authoritative rendition of place and time. &lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.&lt;br /&gt;
&lt;br /&gt;
Conclusion&lt;br /&gt;
The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.&lt;br /&gt;
Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.&lt;br /&gt;
&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
&lt;br /&gt;
The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.&lt;br /&gt;
她的记忆和文章如同植物一般，充满活力且不断变化着。她宣布文本的结束，为相同文本的延续所破坏。方舟子论文中的提到的自我参照策略最终肯定了可能性和潜能，而非完整性和终结性。最终的结论就是，在朱、余、方的散文中采用的传统诗歌节奏并没有消除作者的不确定性和矛盾心理。在每篇文章中，不同的因素素质疑这些姿态的可靠性和意义，突出了作家的经验和地位在其所参观过地方的模糊性。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 08:01, 13 December 2020 (UTC)pengjuan&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
Traditionally, the poet contemplating place and past was a solitary figure estranged from his times and surroundings, often questioning the present state of affairs. From the perspective of literary history, however, sharing this gesture and its variations with other poets in a long line of succession offered writers a way to secure rather than question their role and identity. Through canon formation and the writing of literary history, acts and themes such as contemplating places and past came to be understood as customary endeavors gaining and increasing their significance from their perceived continuity. Such understanding is part of the ''construction of traditions'' to legitimize poetic authority and continuity, or - as during the May Fourth movement - change and eradication.  &lt;br /&gt;
&lt;br /&gt;
Relevant to the argument here is the idea of canon formation and the way it works. The argument does by no means suggest that all texts based on or containing certain traditional gestures and conventions are indeed similar and unchanged over the long pre-modern period. Nor does it suggest that in pre-modern travel and landscape writings the writer can indeed successfully confirm his identity and role through following the conventions of his time. （文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
传统上，这位诗人考虑的地方和过去是一个与他的时代和周围环境疏远的孤独人物，经常质疑现在的事态。但是，从文学史的角度来看，与其他诗人一路相继分享这种姿态及其变化，为作家提供了一种确保而不是质疑其角色和身份的方式。 通过教规的形成和文学史的写作，诸如冥想地点和过去之类的行为和主题被理解为习惯性的努力，这些努力和主题从其连续性中获得并增加了其重要性。种理解是使诗歌权威和连续性合法化的“传统建构”的一部分，或者像在“五四”运动中那样，改变和根除。&lt;br /&gt;
&lt;br /&gt;
与这里的论点相关的是佳能形成的思想及其运作方式。 该论点绝不暗示所有基于或包含某些传统手势和约定的文本在很长的前现代时期中确实是相似且不变的。 它也没有暗示在前现代的旅行和风景画中，作家确实可以通过遵循当时的惯例成功地确认其身份和作用。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:02, 10 December 2020 (UTC)&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
Instead of confirming the writer’s authority as mediator and interpreter of time and place, traditional gestures in modern essays such as Zhu, Yu, and Fang’s foreground his precarious role and position within his time and place. Attempting to adopt traditional gestures ultimately exposes the gestures as constructs that do not provide an indisputable way of understanding and representing surroundings and one’s position and role in them. &lt;br /&gt;
&lt;br /&gt;
By deconstructing the cultural and literary traditions, May Fourth intellectuals and writers tried to establish a practical dichotomy between conservative past and progressive present and future to confer authority upon the modern text.&lt;br /&gt;
&lt;br /&gt;
朱、俞、方等人的现代散文没有肯定作者作为时间、地点的中间人和译者的权威，而是强调作者在时间和地点中的不稳定角色和地位。采用传统手势最终会将手势揭示为一种构造，而这种构造并没有为再现环境及理解手势的地位和作用提供一种无可争辩的方式。&lt;br /&gt;
&lt;br /&gt;
通过解构文化和文学传统，五四知识分子和作家试图在保守的过去与激进的现在甚至未来之间建立一种实用的赋予现代文本权威性的二分法。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:53, 11 December 2020 (UTC)&lt;br /&gt;
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朱自清、郁达夫和方令孺等人在现代散文中的传统姿态非但没有确认作家作为时间、地点的中间人和译者的权威，反而凸显了他们在时间和地点中不稳定的角色和地位。试图采用传统姿态最终揭示作家姿态的方式称之为建构，这种建构并不能为理解和再现境以及作家在其中的地位和角色提供一种无可争议的方式。&lt;br /&gt;
&lt;br /&gt;
五四知识分子和作家通过对文化和文学传统的解构，试图在保守的过去和进步的现在与未来之间建立一种赋予现代文本权威的实用二分法。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:03, 11 December 2020 (UTC)&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
As the above readings show however, modern texts inevitably comprise a ''discourse'' on what is made out to be tradition and modernity. This discourse inscribes, negotiates, and transforms tradition within the modern text albeit in an ever varying and irrepressible way. The texts’ complexity, subtexts, and plurality of meaning arises from a ''negotiation'' between familiar conventions and new and modern perspectives in search of identities, roles, and positions in a changing time and place. Ultimately, the texts are texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
'''From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature'''&lt;br /&gt;
&lt;br /&gt;
''Wang Ban''&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
As a genre, the essay in contemporary China can be seen as a symptom of the decline of historical consciousness and narrative.  This comes through most sharply when compared with the previously established literary paradigm: the Chinese novel in the realistic mode.  For many decades the fiction of revolutionary realism served as ideological apparatus and medium for providing coherent temporal perceptions about past, present, and future.&lt;br /&gt;
&lt;br /&gt;
'''从历史叙事到散文世界: 当代中国文学的散文模式'''&lt;br /&gt;
&lt;br /&gt;
''王班''&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
&lt;br /&gt;
散文作为一种体裁在当代中国被视作历史意识和叙事走向衰弱的象征。当将其与先前建立的文学典范—现实主义模式的中文小说对比时，这一点尤为明显。数十年来，革命现实主义的小说都是意识形态的工具和媒介，它为提供连贯的对于过去，现在和未来的时间观念而服务。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 11:41, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''从历史叙事到散文世界:中国当代文学的散文化模式'''&lt;br /&gt;
&lt;br /&gt;
''王班''&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
&lt;br /&gt;
散文作为一种文学体裁，在当代中国被视为是一种历史意识和叙事意识衰落的表现。与之前确立的文学范式——现实主义模式下的中国小说相比，这一点表现得最为明显。几十年来，革命现实主义小说一直作为一种意识形态工具和媒介，提供了关于过去、现在和未来的连贯的时间感知。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 06:00, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''从历史性叙事到散文世界：中国当代文学的散文模式'''&lt;br /&gt;
&lt;br /&gt;
''王班''&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
&lt;br /&gt;
散文是一种文学体裁，中国当代的散文可以被视为历史性意识和叙事的衰落象征。与之前已建立的文学范式对比可明显得出这个结果：现实主义模式下的中国小说。许多年来，小说中革命性的现实主义是作为对过去，现在和未来提供连贯短暂的感知力的意识形态的结构和中介而服务的。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 10:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
The realistic novel's central assumption is epic best described by Georg Lukacs, who construes the epic form as a projected ideal that is realizable through narrated social and historical actions.  Little thought needs to be taken to see that a revolutionary epic is a strenuous but finally triumphant harmony of ideal and reality.  The rise of the essay in the recent decades epitomizes the turn of literary writing from the epic coherence of ideal and life to the dispersed and fragmented sensory or sensual pleasures and sheer appreciation of images or anecdotes.&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
The essay retreats from historical consciousness and responds warmly and lightheartedly to the advent of consumer culture.  It is designed to satisfy the modest needs of the urban consumer whose sensibility is becoming “essayistic,” prosaic, ahistorical and everyday, preoccupied with the most intimate and quotidian matters.  This paper takes a look back at Eileen Chang's thinking on the essay and attempts to trace the linkage between the modern essay and the rise of urban consumer culture.  Then through an analysis of Wang Anyi's novella ''The Story of Our Uncle'' (Shushu de gushi), I demonstrate how the retreat from historical consciousness to what I would call the essayistic structure of feeling is dramatized by Wang's groping, explorative essay/fiction. &lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
The main character Uncle's career illustrates the waning of historical consciousness.  This paper seeks to point out that the essay's ambivalence lies in its freedom from the straitjacket of the grand narrative and in its contribution to the withering of historical consciousness in the rising consumer culture in China.  &lt;br /&gt;
&lt;br /&gt;
'''The Essay and the Novel'''&lt;br /&gt;
&lt;br /&gt;
The essay as a cultural form can be grasped in its relation to the novel.  In twentieth-century China the novel in the epic, realistic mode had been the dominant form of literature and a pivotal ideological apparatus--probably up to the mid-1980s.  The Chinese realistic novel can be construed as epic in the way formulated by Georg Lukács.&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
Its epic characteristic lies in its historical scope and teleology, its engagement with social and political issues, its intertwining of the individual's fate with collective projects, its aesthetics of the exemplary hero, and its striving for transcendence within everyday immanence.  The novel of socialist realism in the Mao era strove to achieve an imaginary unity of transcendent ideals and quotidian reality.  It depicts a universe in which the world and the self “never become permanent strangers to one another” (Lukács 29) and the individual's growth is of one piece with communal destiny.  In the post-Mao era, often dubbed the New Period, works of fiction appeared to be different but were still imbued with an epic impulse. &lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
It is true that the 1980s saw the emphatic upsurge of interest in the subjectivity of the autonomous individual, but far from an atomistic ego of appetitive self-interest, fictional characters were still figured as the subject of history.  For all its seeming revolt against the previously dominant mode, the image of the newly awakened modern self in the fiction of the New Period went hand in hand with the socio-historical process of socialist modernization, individuals serving as agents of this process.  Thus, Fredric Jameson's concept of national allegory--in which the individual's fate tells a larger story of collective destiny – was well received in Chinese criticism and made to apply with equal ease to the realistic novel of the Mao era as well as those advocating reforms.  &lt;br /&gt;
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Critics have noted that in the 1980s thought emancipation movement (sixiang jiefang), the fundamental literary mode and historical consciousness were derived from the Hegelian-Marxist version of the unity of subject and object, the individual and history.  So the self that was upheld was not an autonomous self cut off from the collectivity of social processes, but was assimilated and modeled by the requirements of the modernization drive.  See Qi Shuyu, 103-104.（文献无需翻译）&lt;br /&gt;
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诚然，在20世纪80年代，人们对自主个体的主体性产生了浓厚的兴趣，但小说中的人物角色远不是出于利己主义的欲望，而是仍然被视为历史的主体。新时期小说中新觉醒的现代自我的形象与社会主义现代化的社会历史进程携手前行，个人充当了这一进程的代理人。因此,詹姆逊的国家概念的寓言——个人的命运讲述一个更大的集体命运——在中国大受好评的批评,使平等轻松地应用于毛泽东时代的现实主义小说,以及那些鼓吹改革。&lt;br /&gt;
批评家们注意到，在20世纪80年代的思想解放运动中，主体与客体、个体与历史统一的黑格尔-马克思主义版本衍生出了基本的文学模式和历史意识。因此，所维护的自我并不是一个脱离社会过程的集体的自主的自我，而是被现代化进程的要求同化和塑造的自我。可见 Qi Shuyu, 103-104.--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 06:46, 13 December 2020 (UTC)&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
If this view of the novel sounds anachronistic to contemporary China, we may justify it by a reference to the striven-for unity of revolutionary ideals and social reality, of theory and practice, a prominent tenet in the utopian legacy of Marxism.  As literary counterpart of this projected unity the Chinese realistic novel presents a mythical and epic structure in which dream and history, individual and collective become one.  In Lukács the epic is contracted with the novel, because the latter is a form stripped of the former’s immediate and unproblematic unity of ideal and reality (56). &lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
In other words, the novel in the Western realistic tradition is troubled by the intrusion of time, which causes fractures in the epic, time-defying harmony between self and collectivity, dream and actuality.   But Lukács still insists that the novel is a kind of epic, because it strives to close the fissures created by the gap of time, hence potentially able to attain the epic status on a higher level. &lt;br /&gt;
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The gap between ideal and reality is minimized in the Chinese novel, which appears to be more epic than the realistic novel in the West.  The novel of revolutionary realism is closer to poetry, marked with tremendous lyricism, as Charles Laughlin notes with regard to the socialist sanwen in his essay “Incongruous Lyricism” in this volume.&lt;br /&gt;
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换句话说，西方现实主义传统小说因受到时间的侵扰而困扰，这种侵扰导致自我与集体、梦境与现实之间的史诗性、时间性和谐出现裂痕。但是卢卡斯仍然坚持小说也是一种史诗，因为小说试图对时间差造成的断裂进行修复，因此有潜在可能达到更高层次的史诗地位。&lt;br /&gt;
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在中国小说里，理想和现实的差距被最小化，中国小说看起来似乎比西方的现实小说更加具有史诗性质。革命现实主义小说更接近于诗，同时巨大的抒情性为标志，正如查尔斯·劳夫林在本卷文章“不协调的抒情诗”中提到的社会主义散文那样。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 14:48, 12 December 2020 (UTC)&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
&lt;br /&gt;
It would not seem incongruous when lyrical exuberance, equated with revolutionary idealism and utopianism, is maximized in the novel as a way to transcend and close the gap between a historical time marked by imperialist invasions, sufferings, and poverty on the one hand, and the ultimate ideal of communism culminating in the epic harmony of ideal and reality, theory and practice, on the other.  The novel in this mode is supposed to be more than a text you read, curled up in your couch in a snowy winter night in solitary comfort.  It was ideological, educational, edifying, its grand narrative projecting material praxis.  It aimed to instigate you to go out into the streets or impoverished villages and get organized with other fellow humans to make history.&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
The rise of the essay in contemporary China is a sign that the novel in the epic mode has become an endangered species.  This is not merely the problem of genre, nor am I suggesting that readers are flocking to essays and abandoning novels.  My point is that the novel as a medium of envisioning social life and registering experiences of temporality is giving way to the essay, or more generally to the essayistic structure of sensibility.   I play with the idea of essayistic in order to refer to the essay as a canonical textual form as well as those discursive moments in other literary genres embodying an “essayistic” quality and a “prosaic” structure of feeling.&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
One crucial point to made is that this emotional structure accords with the everyday sensibility of a city-dweller and consumer.  This is one reason why it is instructive to contract the essayistic with the novel.  The essay deals with a prosaic and mundane world.  In Hayden White’s recapturing of Hegel’s distinction of poetry and prose, “The world in which prosaic utterance developed must be supposed to have been one in which experience had become atomized and denuded of its ideality and immediately apprehended significance, and voided of its richness and vitality” (87).This prosaic world of fragmented experience is to the Chinese novel as the Lukácsian novel is to the epic: a fall from an original oneness.  In contemporary China, neither the novel nor poetry seems to be a means of closing this widened gap.  My purpose in the essay is to examine the position of the essayistic in relation to the novel, and the related sensibilities in relation to history.&lt;br /&gt;
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关键的一点是，这种情感结构与城市居民和消费者的日常情感相符。这就是为什么说把散文家和小说联系起来是有益的。散文处理的是一个平淡且平凡的世界。在海登怀特对黑格尔的诗歌和散文的区分的重述中，他指出，&amp;quot;在散文性语句发展的世界里，经验已经被原子化，它的理想性和即刻领会的重要性被剥夺，它的丰富性和生命力丧失&amp;quot;（87）。这个由碎片化经验构成的散文性世界对于中国小说来说就像卢卡斯小说对于史诗的意义一样：从原始的单一性中堕落。在当代中国，无论是小说还是诗歌，似乎都不是弥合这一差距的手段。本文旨在考察散文家在小说中的地位，以及与历史相关的情感。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:39, 13 December 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
The Hegelian Marxist perspective I sketched earlier is helpful here for understanding the shift from the novel to the essay.  For Hegel art is necessary because it strives for a seamless, organic apotheosis of transcendent spirit and mundane reality.  This view, though historical, can lead to two contradictory conclusions.  In Hegel art is historical because it is a stage of the Spirit's journey to its self-realization.  As art evolves as historically transitory forms of the Spirit, the movement of history leads to the abolition of certain forms of art, or the demise of art altogether.  On this account the novel would be a casualty of the Spirit’s historical movement and self-realization.   For Hegel art becomes problematic and obsolete because the “world of prose” has attained the empirical form erstwhile aspired to by art.  In the world of prose, the Spirit has realized itself both in thought and in socio-political praxis, exemplified by the Prussian state.&lt;br /&gt;
我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得有疑问和过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。 在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:35, 13 December 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
The polity embodied by the Prussian state is for Hegel is the epitome of theory put into practice, a real image of realized art.  As Luckács remarked of Hegel, “Thus art becomes problematic precisely because reality has become non-problematic” (Lukács 17).&lt;br /&gt;
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Lukács, however, draws a contrary lesson from this historical, or more precisely the “end-of-history,” “end of art” thesis.  Taking issue with Hegel's view of art as “aestheticized” body politic, Lukacs argues that the problem of the novel is a mirror image of a world gone out of joint.  In modern times the novel is still alive as the impulse of art is still pressing.  The novel is aesthetically and epistemologically vital and necessary not because the established reality has achieved what art can only dream.  On the contrary, the novel is a desperate attempt to patch up a broken reality and inject little doses of meaning into a world emptied of spontaneous and totalisable significance.&lt;br /&gt;
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普鲁士国家所体现的政体是黑格尔是付诸实践的理论缩影，是现实艺术的真实形象。 正如拉克奇（Luckács）评论的黑格尔的那样，“正是因为现实变得没有问题，艺术才成为问题所在”（卢卡奇17）。&lt;br /&gt;
然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点得到了截然不同的教训。 卢卡奇对黑格尔将艺术视为“审美化的”身体政治的观点持怀疑态度，他认为这本小说的问题是一个脱离世界的镜像。 在现代，由于艺术的冲动仍在继续，小说仍然活着。 这部小说在美学和认识论上至关重要，并且不是必需的，因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:46, 9 December 2020 (UTC)&lt;br /&gt;
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对于黑格尔来说，普鲁士王国代表的政体是理论成为现实的缩影，是现实艺术的真正形象。正如卢卡奇(Luckács)评价黑格尔时所说的：“正是因为现实变得没有问题，艺术就成了问题所在。”（卢卡奇 17）&lt;br /&gt;
然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点中得到了截然不同的教训。卢卡奇不认同黑格尔“将艺术看作美学政体”的观点，他认为这部小说的问题是一个脱离世界的镜像。艺术的冲击力仍在继续，因此现代小说依然保持着其生命力。这部小说在美学和认识论上至关重要，这是必需的，并不是因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:59, 9 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
Therein lies its modern irony, the irony of dreaming the perfection of the world while knowing acutely the impossibility of perfection.  Interestingly, Lukács' insight into the ironic, self-reflexive nature of the novel provides a glimpse on the condition of the essay.  In the Chinese realistic novel, to be sure, the historical totality of communist utopia emerging out of a mundane reality is the shining symbol of inspiration, bearing a superficial resemblance to the Hegelian realization of Spirit in the state.  But the faith in the final triumph of communist utopia and the attainment of a fully emancipated society is presumed by the novelistic discourse as law-like and predetermined, hence realistic and inevitable.  Thus the decline of the novel, the novel in the epic mode, can be read as the decline of the grand, Marxist narrative of historical teleology.  In contrast, the rise of the essay harbingers a more fragmentary, disjoint, and private form of signifying practice that is springing up in the cracks and gaps of a fallen reality, a world out of joint.&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
The world out of joint is a compelling image of today's China going commercialized, globalized, and fragmented in all aspects of life.  The phrase “out of joint' here is meant to denote both the explosive vitality and disorienting chaos, the drama and trauma of the Chinese scene unfolding in the past decade.  To grasp China as a vast market place, a rising consumer society, an emergent culture of mass media and spectacles, I refer the reader to numerous reports by journalists, economists, and a vast number of essays written by writers who have recently turned to the personal essay as a forum.   Literature, as a historical vision and ideological apparatus, is hanging in the balance.&lt;br /&gt;
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脱节是当今中国在生活各个方面走向商业化、全球化和碎片化的一个引人注目的形象特点。在这里，“脱节”一词意指蓬勃发展的活力和令人困惑的混乱，以及过去十年中中国社会的戏剧性和创伤。要了解中国是一个巨大的市场，一个正在崛起的消费社会，一个新兴的大众媒体文化和奇观，我建议读者参考大量的记者、经济学家的报道，以及大量的文章，这些文章的作者最近转向个人文章作为论坛。文学作为一种历史的视野和意识形态的工具，悬而不保。&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 04:46, 10 December 2020 (UTC)Tang Ming&lt;br /&gt;
失控的世界是当今中国走向商业化、全球化和生活各方面碎片化的一个引人注目的形象。 这里的 &amp;quot;失控 &amp;quot;一词，既是指活力无限，也是指混乱不堪，以及过去十年中国社会戏剧性的创伤。 要了解中国这个庞大的市场、崛起的消费社会、新兴的大众传媒和文化奇观，我推荐读者阅读众多记者、经济学家的报告，以及近来转而以个人散文为阵地的作家所写的大量文章。  文学，作为一种历史眼光和意识形态的工具，正处于悬而未决的状态。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:59, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
Like many other spheres of culture, it has become commodified and entered the marketplace, being packaged into one more item in the mass media and entertainment industry.  This altered social context is crucial to understanding the essay as a literary form and a cultural medium of expression in contemporary China.  But this link between the culture of commodity and the essay, or the essayistic mode of writing and feeling, is not a brand new phenomenon of the last decade.&lt;br /&gt;
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For a tracing of the historical linkage we may turn to the earlier period in modern literary history.  Eileen Chang's essays and her reflection on the essay form are the compelling and successful instance of the marriage between the essay and mass culture.  Nicole Huang’s paper in this volume looks at some aspects of this marriage as manifest in Chang’s essay.&lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
This marriage finds its new manifestations in the work of the contemporary writer Wang Anyi, who is writing in a renewed urban context in many ways similar to that of Chiang.  An analysis of Eileen Chang's thinking on the essay will help us understand Wang's work.  Eileen Chang's views give the essay form a clear shape as it emerged in an urban and consumer culture.  Wang Anyi's essays and especially the essayistic moments in her fiction mark the return of this consumer-oriented genre under new historical circumstances.&lt;br /&gt;
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'''Eileen Chang and the Essay in the Urban Setting'''&lt;br /&gt;
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The story and essay writer Eileen Chang has been seen as one source for Wang Anyi's work.  Although Eileen Chang wrote fictions of urban life set in Shanghai and Hong Kong in a mixture of traditional and modernist styles, her writing is a sharp contrast and an antidote to the grand narrative of the May Fourth Enlightenment and revolution in modern Chinese literature.&lt;br /&gt;
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This view of Hegel's on art is evoked by Lukács in his preface to ''The Theory of the Novel'', 11-23.&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
Her stories relish the irrelevancies, minor manias, trivia, and anxieties and depict random episodes of the urbanite's life.  The intriguing depiction of the narrow romance and personality of the petty urbanites, ''xiaoshimin'', is her forte and attraction.  The prose of life in a cramped and congested urban setting is not only the hallmark of her fiction, but also constitutes the major themes of her essays.  While her essays correspond to and illuminate her fiction, her thoughts on essay writing serve to highlight the aesthetic quality of the essayistic in modern Chinese literature. &lt;br /&gt;
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Eileen Chang's essay collection ''Floating Words'' (sometimes translated as ”Written on Walter”) is a compelling example of the essay as it emerged in Chinese urban culture.  In the opening essay entitled “The Child Utters his Words without Constraints” (Tongyan wuji) she equates her essays to the chatty, whimsical, and willful airing of pent-up feelings whenever and wherever she can, like an unrestrained child. &lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
Writers like her, she says, have little to do with earth-quaking, epoch-making historical events and should drop the dream of immortality attainable from self-portrayal by writing a popular autobiography.  The satisfaction and salvation for a writer are writing “bits and pieces about matters concerning oneself” (7).  The matters of self-concern, as Chang continues, include money, dress, eating, important personages and their grotesque undersides, and family relations.  Within a few pages of this first essay we have a range of sundry themes expressing interest in consumer habit, survival in the city, personal and social relations in an increasingly compartmentalized urban culture.  Running down the table of contents of this essay collection, we have trouble classifying what the essays focus on, except to say that they essay opinion and play around with perceptions just about anything in city life.  They touch upon whatever flickers through the mind, passes in view, appeals to the senses, any stereotypical or routine scenes or acts in the urban setting.&lt;br /&gt;
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她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯的兴趣，在城市的生存，个人和社会关系在一个日益分割的城市文化。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及任何在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:37, 10 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯，在城市中生存，在一个日益分割的城市文化中个人和社会的关系的兴趣。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及一切在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:17, 11 December 2020 (UTC)&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
There are, to give a taste of their randomness and miscellany, pieces about living in an apartment, beating up people, private and intimate words, shallow impressions about art, changing dresses, woman, rains, the umbrellas, even about a routine act of going upstairs.  &lt;br /&gt;
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While it is surely impossible to box these essays into a general category and abstract a unifying principle, Eileen Chang points beyond this charmed collection of essays to the grand historical narrative and thus provides a useful reference point for what the essay refuses to do.  If it is not clear what the essay is, Chang shows what it is not. She sees the essay in its withdrawal from and rejection of historical discourse and in its all-consuming absorption in the mundane and fragmented urban scenes.  The nature of the essay seems to lie in its irrelevance to history as a literary principle:&lt;br /&gt;
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为了展现他们的随意和杂乱，有很多关于公寓生活，打架斗殴，私密话语的碎片，对于艺术，服饰变换，女性，雨天，雨伞，甚至上楼这种日常动作的浅谈。&lt;br /&gt;
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当然这些文章不可能被归入一个大概范畴，从而抽象为一个统一的原则，但张爱玲在这本迷人的散文集之外，指出了宏大的历史性叙事，从而为这篇文章不能做的事情提供了一个有用的参考点。如果不明白某篇文章是什么，张会说明这篇文章不是什么。她认为这篇文章是对历史话语的回避和拒绝，是对世俗和支离破碎的城市场景的全身心地投入。这篇文章的本质似乎在于它与作为文学原则的历史无关：--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:00, 13 December 2020 (UTC)&lt;br /&gt;
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为了让人感受到它们的随意性和杂乱感，有关于公寓生活，打架斗殴，私密话语等碎片化场景，有关于艺术、换衣服、女人、雨、雨伞等浅薄印象，甚至有关于上楼的这种日常动作，都被记录下了。&lt;br /&gt;
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虽然肯定不可能把这些文章归入一个大类，抽象出一个统一的原则，但张爱玲却把这本充满魅力的文章集指向了宏大的历史叙事之外，从而为散文拒绝做的事情提供了一个有益的参考点。如果不清楚散文是什么，张爱玲就说明它不是什么。她看到了散文对历史话语的抽离和拒绝，看到了散文对平凡而零碎的城市场景的全盘吸收。散文的本质似乎在于，作为一种文学原则，它与历史无关。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:56, 13 December 2020 (UTC)&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
I have no desire to write history, nor am I qualified to make judgement on the historian's perceptions.  But privately I hope they would say more things that are irrelevant.  Reality as such is not systematic; it is like seven or eight chatter-boxes sounding simultaneously, creating confusion.  But amidst this incomprehensible sound and fury there occur moments of illumination, poignant and bright, enabling us to hear the tune and understand a bit, only to be swallowed up by the thickening darkness.  Painters, writers, and composers connect these chancy, fragmented discoveries and create artistic wholes.  (41)&lt;br /&gt;
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As a fiction writer Chang does not believe in artistic perfection.  She creates “imperfect” and flawed characters in her fiction, as she repeatedly claims.  In her essays she holds it important to write about the irrelevancies, for, as she proclaims, all life' charms are to be found in the irrelevancies. (42)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
Eileen Chang's thinking on the essay reflects certain aspects of Chinese modernity that provides a context for understanding the essay form as an increasingly prominent cultural medium.  The essay for her is a writing practice opposed to the historically oriented and politically charged literature, to the teleological historical narrative, and to the monumental work of art.  Formalistically the essay is random, self-contradictory, expressive, and therapeutic.  Eileen Chang's essays are a radical departure from Lu Xun's miscellaneous essay (''zawen'').  Despite its similarly disjoint, personal, and casual form, the ''zawen'' à la Lu Xun is polemic, militant, acid, socially and political engaged.  It seizes upon the small and transitory but its gaze goes past them to the culturally and historically significant.  This engaged character puts the ''zawen'' in a close lineage with the didactic tradition of May Fourth literature aimed at raising readers' consciousness or jolting them out of the half-sleep of tradition and convention.&lt;br /&gt;
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张爱玲对散文的思考反映了中国现代性的某些方面，这为理解作为日益突出的文化媒介的散文形式提供了一个语境。对她来说，这篇散文是一种与历史导向和充满政治色彩的文学、目的论的历史叙事和不朽的艺术作品相对立的写作实践。从形式上来说，这篇散文是任意性的、自相矛盾的但又富有表现力和治疗性。张爱玲的文章是对鲁迅杂文的彻底背离。尽管鲁迅笔下的“杂文”体现出类似的不连贯性、个人化和随意的形式，但它是论战性的、激进的、尖刻的、社会的和政治的。鲁迅的文章捕捉到的是渺小而短暂的事物，但其目光越过它们，投向其背后体现的文化性和历史性。这个引人入胜的特点将“杂文”与五四文学的说教传统紧密联系在一起，旨在提高读者的意识，试图将他们从传统和习俗的沉睡中唤醒。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 08:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
The rise of consumer mentality, urban culture, and the new role of the writer as a professional breadwinner brought to prominence the values of entertainment, charm, taste, performance, charisma, and glamour--values inherent to urban culture with a good appetite for entertainment, images, and spectacles.  This emergent socio-historical context was overshadowed and marginalized by the dominant political ideology and historical narrative in the decades after Eileen Chang's short-lived popularity. &lt;br /&gt;
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Andrew Jones of UC-Berkeley is at work to translate Eileen Chang’s essay collection into English and he uses the phrase “Written on Water.”&lt;br /&gt;
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In his recent book ''Shanghai Modern'' Professor Leo Lee has admirably traced Eileen Chang's writing and the commercial urban culture she was immersed in.  See the Chapter “Eileen Chang: Romances in a Fallen City,” 267-303.&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
In the 1990s and in Wang Anyi's work, this historical context re-emerged with sharpness and vengeance.  I will argue that the fate of the essay or the aesthetic quality of the essayistic cannot be understood without considering the revival of urban and consumer culture and its increasing detachment from the historical consciousness.&lt;br /&gt;
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'''Telling a Story Where There is no Story to Tell'''&lt;br /&gt;
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Wang Anyi's work in the 1990s shows how deeply the urban mass culture has penetrated and transformed literature.  The novel in the epic mode depends upon some preconceived story pattern which delivers ideological and historical convictions about temporal perceptions of past, present, and future.  One symptom of the shift from the novel to the essay is the acute sense of lack of story, the sense that the archetypal stories that writers used to rely on to generate their narratives are no longer convincing.&lt;br /&gt;
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20世纪90年代，在王安忆的作品中，这一历史语境以尖锐和复仇的笔触重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。&lt;br /&gt;
“在没有故事可讲的地方讲故事”&lt;br /&gt;
王安忆90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式提供了意识形态和历史信念，关于对过去、现在和未来的短暂感知。从小说到散文的转变的一个典型是故事的严重缺失，作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:00, 9 December 2020 (UTC)&lt;br /&gt;
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在20世纪90年代，以及在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。&lt;br /&gt;
“在没有故事可讲的地方讲故事”&lt;br /&gt;
王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:12, 9 December 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
For Wang Anyi this poverty of stories is directly linked to the urban setting.  The title of one of her essays on literature “The City Has no Story to Tell” (Chengshi wu gushi) highlights the disappearance of sharable, communicable narratives in the city's amorphous atmosphere and the anonymous urban crowd.  This essay makes quite clear the sociological transformations that have given rise to the generic shift from story to non-story, or from narrative fiction to the essayistic mode.  In it Wang sets up a contrast between the village community and urban social organization.  The tightly knit rural communities, such as villages and small towns, are the nurturing ground for sharable stories.  As the social relations are largely those of family, kinship or clan, human contact and communication are more intimate and primarily face to face.  Individuals act out their life stories in a pre-given trajectory and within a received social network of work, authority, and hierarchy.&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
The stories both told and lived, recounted over and again against a backdrop of traditional orientation and self-evident norms.  Traditional values and age-old customs shape the stories people tell each other and assure their intelligibility and guarantee cultural continuity.  In short, the temporal and spatial perceptions are inherited and sedimented over time and can be repeated in new stories. &lt;br /&gt;
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This argument about village community brings to mind Benjamin's critique of the modern novel and re-evaluation of the communal storyteller.  The village community is embedded in an inexhaustible fund of stories and exemplified by the culturally cohesive role of the storyteller.   Benjamin's familiar argument takes on new significance when the contract between village and city is construed as a metaphoric tension between the self-assured story-telling in the epic mode of the Chinese novel and the disappearance of the story in the city.&lt;br /&gt;
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这些故事讲述和生活，在传统取向和不言而喻的规范的背景下一遍又一遍地叙述。传统价值观和古老的风俗习惯塑造了人们相互讲述的故事，保证了故事的可理解性和文化的连续性。简言之，时间和空间的感知是随着时间的推移而继承和沉淀的，并且可以在新的故事中重复。&lt;br /&gt;
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关于乡村社区的论点让我想到了本杰明对现代小说的批判和对公共叙事者的重新评价。 乡村社区被埋在无穷无尽的故事基金中，并以讲故事者的文化凝聚力为例。 当乡村与城市之间的契约被解释为中国小说史诗模式中的自我保证的故事讲述与城市中故事的消失之间的隐喻张力时，本杰明的熟悉论点具有新的意义。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:54, 11 December 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
More importantly, the tension foregrounds the accelerated modernization process that has rendered almost obsolete, in less than a decade, the relatively habitual and time-worn socio-psychic infrastructure.  It brings into sharp focus the market oriented, amorphous urban setting where the individual becomes atomic individuals, cut loose from the social moorings of kinship, community, and family, from lineage and history.   Thrown into the competitive marketplace and transient impersonal relations, the individual has to rely on his or her own ingenuity and resources..   Since they come from different areas and are isolated from each other in the compartmentalized life spheres and specialized work, urban dwellers only have their own vastly different stories to tell, stories which are narrowly biographical and not readily meaningful to other people.  There are more stories to tell, it is true, but the apparent multiplication of stories imply the poverty of a communicable story.&lt;br /&gt;
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更重要的是，紧张局势预示着加速的现代化进程，在不到十年的时间里，这一进程几乎淘汰了相对熟悉的社会心理基础设施，现在它已显得陈旧不堪。这种局势给以市场导向的形势和未定型的城镇环境带来了极大的关注度，在这里，独立的个体变得微不足道，疏远亲属、社区和家庭关系，疏离血缘关系和历史关系。 人们被迫投入竞争激烈的市场，投身于短暂的没有人情味的关系里，他们必须依靠自己的天赋和资源。因为来自不同的地方，他们与彼此因生活领域和特定工作而相互隔离，住在城市的人只能说说关于自己的截然不同的故事，这些故事只限于谈论自己，所以对于其他人没有可读性，也无意义。的确，是有很多的故事可以说，但是故事的激增也暗示了好传播故事的缺乏。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:45, 13 December 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
This is what Wang means by saying there is lack of stories in the city.  The endlessly varied confusion and lack of common interest lead to disjoint, fragmentary, anecdotal, performance-driven forms of writing often found in essays written for the consumer's relaxed state of mind, or mindlessness after a nice dinner.&lt;br /&gt;
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'''From the Historical to the Essayistic: the Fall of the Intellectual'''&lt;br /&gt;
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Wang Anyi's ''The Story of Our Uncle'' illustrates the transition from the historically and ideological oriented literature to a form that could be characterized as essayistic. The novella was written in 1990, a time of drastic change for Chinese society and culture as a whole.  From a culture dominated by an ideologically oriented and centralized state China was moving quickly into a brave new world of frenzied economic development, investment, consumerism, and pop culture.  Something fundamental had drastically shaken the basic fabrics of Chinese society.&lt;br /&gt;
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这就是王先生所说的城市缺少故事的意思。 无穷无尽的各种困惑和缺乏共同的兴趣，导致了不连贯的、零碎的、轶事的、以表现为目的的写作形式，这些写作形式常常出现在为消费者轻松的心境而写的散文中，或者在一顿丰盛的晚餐后的无心之作中。&lt;br /&gt;
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'''从历史主义到文章主义：知识分子的堕落'''。&lt;br /&gt;
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王安忆的''舅舅的故事''说明了从历史性、意识形态性的文学向可称为散文性的形式过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、投资、消费主义和流行文化的勇敢新世界。 一些根本性的东西已经极大地动摇了中国社会的基本结构。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 12:26, 9 December 2020 (UTC)&lt;br /&gt;
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王安忆的''叔叔的故事''表明了文学的形式由历史导向和意识形态导向往散文导向的过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、充盈着投资、消费主义和流行文化的崭新世界。 一些根本性的东西已经极大地动摇了中国社会的基本架构。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:53, 12 December 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
''The Story of Our Uncle'' registered a very sensitive aspect of the epoch-making changes in China.  Rather than interpret this novella as a literary text, I will look at it as a document tracing a shift in literary and social history.  Focusing on a novelist's career, the novella delineates the qualitative shift in the value and function of literature in a time when ideology and politics were giving way to the market, economic development, and consumerism--all under the rubric of modernization.  From the vicissitudes of a writer we may see how the novel as a cultural form loses its ground and how literary sensibility shifts to the essayistic.  This generic shift provides a glimpse onto the fundamental social transformations in the 1990s.&lt;br /&gt;
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《我们叔叔的故事》反映了中国划时代变化的一个非常敏感的方面。与其把这部中篇小说解读为文学文本，不如把它看作是一部追溯文学和社会历史变迁的文献。这部中篇小说以小说家的职业生涯为主线，描绘了在意识形态和政治逐渐让位于市场、经济发展和消费主义的时代，文学的价值和功能发生了质的转变，所有这些均为响应现代化的号召。从一个作家跌宕起伏的人生经历中，我们可以看到小说作为一种文化形式是如何失势的，文学情感是如何转向散文主义的。这种常见的转变让我们看到了20世纪90年代的基本社会变革。&lt;br /&gt;
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Critics have noticed the presence of essayistic quality in Wang's writing, especially in her fiction.In ''The Story of Our Uncle'', one finds the essayistic prevailing over narrative.&lt;br /&gt;
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评论家们已经发现了王安忆散文创作的本质，这一特点在科幻小说中表现突出。在《我们叔叔的故事》中人们发现散文的比重多余叙事。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:47, 12 December 2020 (UTC)&lt;br /&gt;
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《叔叔的故事》记录了中国划时代变化的一个非常敏感的方面。与其将这部中篇小说解读为一个文学文本，不如将其视为一部追溯文学和社会历史变迁的文献。这部中篇小说以一个小说家的职业生涯为主线，描绘了在意识形态和政治让位于市场、经济发展和消费主义的现代化背景之下，文学的价值和功能发生了质的变化。从一个作家经历的沧桑巨变中，我们可以看到小说作为一种文化形式是如何失去地位的，文学感召力又是如何向散文主义转变的。这种普遍性的转变让我们看到20世纪90年代社会的根本性变化。&lt;br /&gt;
评论家们注意到了王安忆在创作的作品，尤其是她的小说中存在散文性。在《叔叔的故事》中，人们发现散文的成分多于叙事的成分。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
The text reads more like an essay-- rambling, random, analytical, disjoint, gossipy, chatty--than a straight narration, a fact acknowledged by the author herself.  In this narrative-essay a young writer on behalf of his generation attempts make a biographical assessment of an older writer they call our uncle.  One would be disappointed to expect an engaging action or dramatic story.  Though the text retains the outward, apparent shape of a novella it is a hybrid composed of diverse genres, with literary and art criticisms, gossip, conjecture, history, philosophizing, anecdotes, and stories all rolled into one.  The narrator suggests that this novella is an essay in the double sense of textual form and playful, explorative literary exercise.   He proclaims in the opening paragraph that this is a story assembled out of a hodgepodge of elements, and there is no way to distinguish truth from falsehood.&lt;br /&gt;
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这篇文章读起来更像是一篇散文——散漫、随意、有条理、絮絮叨叨、喋喋不休——而不是直接的叙述，这一点作者也承认。在这篇叙述-散文中，一位年轻作者代表他这一代人试图对一位他们称之为叔叔的老作家进行传记性评价。如果有人以为这会是一个引人入胜的行动或者一个戏剧性的故事，那么他就要失望了。尽管文本保留了小说的外在明显特征，但是它是一个由不同体彩杂糅成的混合体，集文学、艺术批判、八卦、猜测、历史、哲学、轶事和故事于一体。叙述者认为，这篇小说是一篇具有双重意义的散文，既有文本形式，又有充满游戏趣味和探索性的文学练习。他开篇就宣称，这个故事是各种元素糅合而成的大杂烩，无法区分真假。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:48, 12 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
“Many blanks need to be filled up with imagination and inference,” and the story is filled with “subjective coloring” (181).  The subjective, arbitrary, even whimsical character of the text is further associated, as the narrator notes, with the mode of production that writers have adopted as they are geared toward an emergent literary market.  Writers, the narrator says, are people who spend their time making up stories.  One day “we started circulating his (Uncle's) maxims.”  To the laborers like us the maxims are significant, for they are capital in commodity production and can produce surplus value, which can put back to expanded reproduction. ''The Story of Our Uncle'' is thus premised on fragmentary axioms, an arbitrary principle of composition, random fantasy, and the form of commodity.&lt;br /&gt;
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“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始传播他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的构成原则、随机的幻想和商品的形式为前提的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:54, 11 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始流传他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的创作原则、随机的幻想和商品的形式为前提的。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:53, 12 December 2020 (UTC)&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
In a strictly formalistic sense, Wang's text complies with the usual comments and generalizations on the essay as a literary form.  In Theodore Adorno's well-known essay entitled “The Essay as Form” we find numerous descriptions well suited to an analysis of the essay in the Chinese context.  Adorno pits the essay against the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural condition of reification.  The essay is envisaged as an ''enfant terrible'' or a serious playboy seeking the utopia space of the pleasure principle.  Thus the essay turns up its nose to the notions of totality, completeness, systematicity, the universal and the eternal.  It is marked by fragments, excessive fantasy and interpretation, exploration, and experiments.  Its supposed form is actually formlessness.  Abandoning the rigid conceptual schemata, it seeks and engages the object in its historical specificity and quotidian trivia.&lt;br /&gt;
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从严格的形式主义意义上讲，王的文本符合论文中通常的评论和概括的文学形式。 在西奥多·阿多诺（Theodore Adorno）著名的论文《作为形式的散文》中，我们发现了许多非常适合在中国语境下对论文进行分析的描述。 阿多诺将这篇论文与哲学的制度体系，科学实证主义的话语以及随之而来的社会文化条件化相提并论。 这篇文章被认为是“恐怖的婴儿”或寻求娱乐原则的乌托邦空间的严肃的花花公子。 因此，本文对整体性，完整性，系统性，普遍性和永恒性的概念大加赞赏。 它的特点是碎片，过多的幻想和解释，探索和实验。 它的假定形式实际上是无形式。 它摒弃了僵化的概念图式，而是以对象的历史特殊性和“琐事琐事”来寻找和参与对象。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:35, 10 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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从严格的形式主义上讲，王的文本遵循了对散文作为一种文学形式的评论和概括。在西奥多·阿多诺（Theodore Adorno）著名的论文《文章的形式》中，我们发现许多描述都很适合在中国语境下对这篇文章进行分析。阿多诺将该文与哲学的制度体系，科学实证主义的话语以及随之而来物化的社会文化环境相对比。人们将这篇文章设想为“恐怖的婴儿”或是一个严肃的花花公子在追寻享乐主义的乌托邦。因此，文章对整体性，完整性，系统性，普遍性和永恒性加以批判。该文碎片化，充斥着幻想，过度解释，探索性和实验性；没有预设的形式，摒弃了僵化的概念图式；追求写作的历史特殊性和日常性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:19, 10 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
While Adorno's comments are apt and in tune with much of Eileen Chang and Wang Anyi's musings on the essay, the philosophical framework in Adorno that the essay rebels against is different: the essay is up against the high-minded conceptual tyranny of Western philosophical tradition.  In the Chinese literary convention the essay is not so clearly defined against something so established.  Its polemic pole, I have tried to argue throughout this essay, is to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of revolutionary realism.  &lt;br /&gt;
&lt;br /&gt;
The essay is a literary exploration trying to break out of the conceptual and discursive straitjacket.  Adorno quotes Max Bense and says that the essay “is distinguished from a treatise:&lt;br /&gt;
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虽然阿多诺的评论很贴切，与张爱玲、王安忆对散文的很多思索是一致的，但散文在阿多诺那里所反抗的哲学框架是不同的：散文是与西方哲学传统的高高在上的概念暴政对抗的。 在中国的文学传统中，散文所反抗的东西并不是那么明确的。 我试图通过这篇文章论证：散文应被认定为启蒙运动和马克思主义的心学史范式及其文学的对应物：革命现实主义小说。 &lt;br /&gt;
&lt;br /&gt;
本文是试图突破观念和话语束缚的文学探索。 阿多诺引用马克斯-本塞的话说，散文 &amp;quot;区别于论著。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:00, 11 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
The person who writes essayistically is the one who composes as he experiments, who turns his object around, questions it, feels it, tests it, reflects on it, who attacks it from different sides and assembles what he sees in his mind's eye and puts into words what the object allows one to see under the condition created in the course of writing.  (17)&lt;br /&gt;
&lt;br /&gt;
The dropping of a grand, complete vision and opting for the incomplete, trivial, and the experimental are what makes for the essay.  The German word Versuch, attempt or essay, Adorno writes, is the place where “thought's utopian vision of hitting the bullseye is united with the consciousness of its own fallibility and provisional character” (16).  This “indicates . . . something about the form, something to be taken all the more seriously in that it takes place not systematically but rather as a characteristic of an intention groping its way” (16).&lt;br /&gt;
&lt;br /&gt;
See Wu Liang and Wang Anyi, “A Conversation on Reality and Fiction,” in Wang Anyi, Reality and Fiction (Jishi yu xugou) 325.&lt;br /&gt;
&lt;br /&gt;
Adorno, 3-23.&lt;br /&gt;
散文式写作的人是在实验中创作的人，他把客体转过来，质疑它，感受它，检验它，思考它，他从不同的角度攻击它，把他在脑海中看到的东西组合起来把客体在写作过程中创造的条件下允许人们看到的东西用文字表达出来。(17)&lt;br /&gt;
放弃宏大的、完整的愿景，选择不完整的、琐碎的、实验性的，是这篇文章的组成部分。德语单词Versuch，尝试或文章，阿多诺写道，是“思想命中靶心的乌托邦愿景与意识到自身的错误和临时特性相结合的地方”。这“表明……一些关于形式的东西，一些需要更加认真对待的东西因为它不是系统地发生的而是作为一种意图的特征去探索它的方式。&lt;br /&gt;
参见吴亮和王安忆《现实与小说的对话》，载于《王安忆:现实与小说》(季实余序购)325页。&lt;br /&gt;
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阿多诺,3-23。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:23, 13 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
An intention groping its way into the mysteries of the Uncle's life aptly describes the essayistic quality of Wang's novella.  As a text assembled out of disparate materials-- hearsay, gossips, and guesswork, fantasy, and conjecture, the narrative enacts a wide array of pre-given discourses and narrative patterns to grope at the “real” life of the Uncle.  These discourses and narratives are in their own turn commented on as objects of inquiry and critique on a “meta” level and treated as options in an experimental writing.  As an intellectual the Uncle is typical of hundreds of thousands others persecuted in the political campaigns whose suffering and re-instatement in the post-Cultural Revolution period is now a cliche.  But at the very outset the novella unpacks the myth of the suffering intellectual into forking paths of narrative.&lt;br /&gt;
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探索叔叔生活之谜的意图恰如其分地描述了王中篇小说的散文主义特质。作为一个由传闻、闲话、猜测、幻想和猜想这样不同的材料组合而成的文本,叙事中出现了大量预先设定的话语和叙事模式，以探索叔叔的“真实”生活。这些话语和叙述在“元”层面上作为探究和评判的对象被评论，并在实验性写作中被视为可选择的事物。作为一名知识分子，叔叔是在政治运动中遭受迫害的数十万人中的典型，他们在后文革时期的痛苦和恢复现在已成陈词滥调。但从一开始，这部中篇小说就把受苦知识分子的故事解构成了分岔的叙事路径。&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:28, 9 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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一种试图探索叔叔生活奥秘的意图恰当地描述了王的小说的本质特征。作为一篇由不同材料-道听途说，流言，猜测，幻想和猜想-拼凑而成的文本，叙事赋予了大量预先给定的话语和叙事模式，以摸索叔叔的“真实”生活。这些论述和叙述依次被评论为“元”层面上的探究和批判对象，并在实验写作中被视为选项。作为一个知识分子，叔叔是成千上万在政治运动中受到迫害的人中的典型，他们在后文革时期的痛苦和重生现在已经是老生常谈了。但从一开始，中篇小说就将饱受苦难的知识分子的神话展开，开辟了叙事的道路。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 9 December 2020 (UTC)&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
One can make up a narrative of the Uncle on his way to the place of exile, for instance, by recourse to a tragic-sublime scenario of political victims echoing Dostoevesky.  Riding in a beat-up truck drudging through the vast, snowy Siberian landscape in the Northwest plateau, the victim/hero would ponder the significance of life and fate with an elderly wise man.  One could also cast the Uncle in a lackluster, comic or even grotesque light, reduced to a mere creature of survival, trapped in a narrow village life.  Like thousands of other writers, Uncle was persecuted and exiled because of his writing.  But this fabled story of the tragic-heroic writer is again playfully retouched into three different versions by Uncles' own retelling after the fact.  In the first telling, his persecution is a political story, indicting the tyranny of the political system.  Then it is an existential story, intimating the mysterious and ironical workings of fate.Thirdly, it is a prophetic story, in the fashion of an Aesop fable, full of prescience and bodings of catastrophe.&lt;br /&gt;
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比如，人们可以利用陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔流亡的故事。主人公坐在一辆破旧的卡车上，在广阔的、被白雪覆盖的东北高原上艰难前行，和一位智叟一起思考生命的意义。同样，人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，一个在小村庄中艰难求生的人。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事经过叔叔的叙述后，被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度中的暴政。其次，这是一个存在主义故事，暗示着命运的神秘和讽刺。第三，这是一个预言性故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:15, 11 December 2020 (UTC)&lt;br /&gt;
比如，人们可以通过陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔去流亡地的故事。主人公坐在一辆破旧的卡车上，在广阔的、白雪覆盖的东北高原上艰难前行，他会和一位睿智的老人一起思考生命和命运的意义。人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，沦为一个被困在狭小乡村生活中的求生之物。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事在叔父们在事后的复述后又被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度的暴政。第二，这是一个存在主义的故事，暗示着命运的神秘和讽刺。第三，这是一个预言性的故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:26, 13 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
This intention groping its way into the Uncle's life draws upon various types of narrative patterns and aesthetic resources.  This is by no means a literary embellishment for pure rhetorical variety or pleasure.  The narration is saddled with the difficulties of understanding and getting the Uncle's life's straight.  The difficulty is not the usual generational gap, but reflects different historical experiences and memory that separate the young from the old.  This difference not only drives a wedge into the writers as a group, but also gives rise to the divergence of generic practice and the aesthetics informing it.  This divergence is the key to understanding the essay and the essayistic.&lt;br /&gt;
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进入叔叔生活的这种意图利用了各种类型的叙事模式和美学资源。 这绝不是纯粹的修辞变奏或娱乐的文学装饰。 叙述难于理解和理解叔叔的生活。 困难不是通常的代沟，而是反映了将年轻人与老年人区分开的不同的历史经验和记忆。 这种差异不仅使作为一个整体的作家成为楔子，而且引起了通用实践和为其提供信息的美学的差异。 这种差异是理解论文和论文论的关键。&lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 11:03, 11 December 2020 (UTC)&lt;br /&gt;
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这种对叔父生活的探索，借鉴了各种类型的叙事模式和审美资源。这绝不是一种纯粹的修辞变化或乐趣的文学修饰。故事的叙述充满了理解和理解叔叔生活的困难。困难不是通常的代沟，而是反映了不同的历史经验和记忆，把年轻人和老年人分开。这种差异不仅导致了作家群体的分裂，而且导致了一般实践和审美观的分歧。这种分歧是理解散文和散文家的关键。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:06, 11 December 2020 (UTC)&lt;br /&gt;
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这旨在用各种类型的叙事模式和审美资源探索叔叔的生活。这绝不是纯粹为了变换修辞或者获得乐趣而进行的文学修饰，而是叙述着理解叔叔生活的困难。困难不是普通的代沟，反映了年轻人和老年人的不同历史经历和记忆。这种差异不仅将作家群分裂开来，而且也导致了共性实践与传达共性实践的美学的分歧。这种分歧是理解散文和散文论的关键。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:27, 11 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
The older generation, having experienced political persecution and historical traumas at the first hand, is deeply grounded in a historical consciousness and a teleological narrative.  The Uncle is intensely committed to writing literature as praxis for social change.  His meteoric rise to the leading writer in the aftermath of the Cultural Revolution indicates that the position of what Gramsci called the “organic” intellectual remains strong, even thriving. The popularity of his novels shows that a work of literature can make a tremendous hit and is an effective medium for criticizing the flaws of the system and raising the social, political consciousness of readers.  It revives the legacy of the New Literature of May Fourth and is rightly re-baptized as the literature of the New Period (xin shiqi wenxue).  It is the voice of the farsighted and the vanguard in China's modernization drive.  Despite all his traumas and sufferings, the Uncle's generation, writers in their forties and over in the narrative time, remains firm in their belief in the organic totality of socio-historical process and the people's capacity in steering the course of history.  Literature is simply one vehicle that carries this historical mission.  &lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
The historical consciousness embodied by the Uncle is to find its corresponding form in an epic mode of writing: the realistic novel.  The Uncle's general outlook on the world is epic in the Lukácsian sense.  The young narrator captures this ''Weltanschauung'' very accurately: &lt;br /&gt;
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The political life of the past few decades has filled up his personal experience and life.  This enables Uncle to keep his worldview firmly anchored to reality and politics.  The state and government encompass the whole world for him and form the vast backdrop for human activity.  Patterns of people's behavior and conduct are but representatives of social life.  The concept of culture sounds very abstract and empty to him.  For him art should also perform real and political functions.  (214-215)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
The young generation, in contrast, is not so firmly grounded.  Growing up in a period when the dominant ideology is in decline, they are left floating in the winds of various imported ideologies and newfangled isms.  Creatures of the newly emergent market and players of nihilistic intellectual fashions, they produce literature without any commitment to a socio-historical mission.  Literature is but a playful, aesthetic game unburdened with any responsibility and weighty purposes.  Art has become an artful, artsy activity, floating free of socio-historical grounding.  Literary activity to them means, more specifically, attending pen conferences, pursuing hot fashions, innovating fresh forms and tastes, brandishing new theories, making up sensational and marketable stories.  All this also leads to the enhancement of a writer's charisma and even sexual appeal.  Indeed, to the young generation it is old fashioned to see literature as having historical or social significance; literature becomes more and more sexy and commercial.&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
The story of the Uncle is an allegory of withdrawal from history and the dangers involved, exemplified in his crisis-ridden metamorphosis from a historically grounded writer to a playful artist, from novelist to essay writer.  The Uncle's earlier success thrusts him to the status of literary celebrity and stardom: he becomes a prominent figure in the media.  As the younger writers pursue fashions and cater to new consumers with playful, entertaining, artsy literary goods, the Uncle feels the need to catch up.  His new position as a glamorous writer allows him to become a globetrotter.  At the invitation of literary and academic circles and literary institutions around world eager to know a newly opened China, he journeys from country to country giving talks and socializing at literary cocktail parties.  Increasingly, sightseeing and superficial impressions of exotic foreign countries become the only materials he can summon: he becomes a tourist and a writer of travelogue.&lt;br /&gt;
叔叔的故事寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。叔叔的早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，叔叔觉得自己也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:37, 10 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
Going along with the role of a player in an increasingly cosmopolitan, global, and consumer oriented literary market is a new philosophy of writing, which favors a showy, playful, essayistic quality at the expense of the epic, social and historical.  The Uncle is reborn, the younger narrator rightly observes, into a new life, and into an enclosed new realm of pure artistic creativity.  He addresses serious social problems playfully in the style of black humor and through anachronistic narrative techniques.  He becomes more and more detached from the grave political issues of the day.  His new outlook is derived from a purely aesthetic principle.&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者正确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:35, 9 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者恰好观察到，文叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:50, 9 December 2020 (UTC)&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和随笔性。年轻的叙述者精确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭式的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，戏谑般地处理严重的社会问题。他与越来越疏远当今严肃的政治问题。他的新观点是由纯粹的美学原则衍生而来。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 02:21, 10 December 2020 (UTC)&lt;br /&gt;
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不断扩张的都市化，全球化，顾客为导向的市场，一种新的写作理念应运而生，它以牺牲史诗性，社会性和历史性为代价，追求炫耀性、趣味性、和散文性。年轻的叙述者恰好观察到，文叔再生了，他进入了一个新的生活，进入到一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和 不合时宜的叙述技巧，玩笑般的对待严重的社会问题。他与当今严重的的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:36, 11 December 2020 (UTC)&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
Emptied of historical substance and filled up with fragmentary and rambling impressions in his global trips, both life and writing of the Uncle thin out into personal, irrelevant, discontinuous fragments.  His writing begins to take on the essayistic quality, and borders on sheer images or simulacra, getting closer and closer to those of the younger generation.  Real human relations are “only a literary conceit.” (227), he echoes the younger generation.  Within the aesthetic shelter the “Uncle can no longer become excited or moved and is immune to suffering.”  Tragic suffering is now only a literary category, and “the awareness of this is the hallmark of Uncle's becoming a pure writer” (225).  Parallel with this essayistic quality is the Uncle's changed life style.  His is more taken with things he would have considered vulgar, low, or quotidian;&lt;br /&gt;
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生活和写作都被历史的内涵掏空，随之被全球旅行中的零碎和漫不经心填满，让叔叔自己变成了个人的、无关紧要的、不连续的碎片。他的写作开始有了散文的气质，并接近于纯粹的影像或模拟，越来越接近年轻一代的人。真实的人与人之间的关系“只是一种文学上的臆想”。(227)，他与年轻一代遥相呼应。在审美的庇护下，“大叔再也不能变得兴奋或感动，而且对苦难免疫”。悲剧性的苦难现在只是一个文学范畴，“对这一点的认识是大叔成为一个纯粹作家的标志”（225）。与这种文章化特质并行的是大叔的生活方式的改变。他的更多的是对那些他认为庸俗、低级、庸常的东西的接受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:11, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
he becomes more listless and yuppish.  He has developed a strong interest in women and sexual intrigues and conquests; he indulges in vulgarity and trivial pursuits, exulting in money and showy, exotic collectibles.  In short, he metamorphoses from an image of the epic novelist and organic intellectual to a middle class, professional writer, whose favored form is the essay and whose lifestyle takes on the “essayistic” quality of a ramble for self-pleasure.&lt;br /&gt;
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The transformation in the Uncle reflects the retreat of literature from a historically grounded medium to a form light-hearted, playful entertainment and a theatrical performance.  The problem with this change, as the novella's ending suggests, is that it is self-deceptive.  Despite the Uncle's willful creation of an aesthetic cocoon, history manages to intrude in the end as return of the repressed, in the person of his murderous son.  His son embodies all the painful memory and disgraceful experience of the Uncle's life, unfit for the epic treatment in his novels and repressed in his ethereal, airtight, essayistic experiments. &lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
The son's attempted murder of his father signifies the revenge of a history that the Uncle is trying to shut off from the serene, trouble-free aesthetic realm.  Our concern, however, is not with the interpretation of the story per se, but with the way the Uncle's fate indicates the shift in literary form.  If the Uncle's story apparently traces the trajectory of a novelist to a writer who not only writes travelogues and essays but also is imbued with essayistic sensibility, then the essay in contemporary China is a release from the epic form of writing and historical discourse.  It is a release into the literary market and consumer taste, a response to the pervasive secularization of life and rising consumerism.&lt;br /&gt;
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儿子企图谋杀他父亲的行为象征着一段历史的复仇，而这段历史是叔叔试图将其与宁静、无烦恼的美学领域隔离开来的。然而，我们关心的不是故事本身的解释，而是叔叔的命运如何预示着文学形式的转变。如果“叔叔”的故事明显地将小说家的轨迹追溯到一个作家，他不仅写游记和散文，而且充满了散文情感，那么当代中国的散文就是从史诗形式的写作和历史话语中解放出来的。这是对文学市场和消费品味的释放，是对生活普遍世俗化和消费主义抬头的回应。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:59, 9 December 2020 (UTC)&lt;br /&gt;
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儿子企图谋杀他的父亲这一行为象征着一段极具历史意义的复仇，叔父试图从宁静、无忧无虑的美学领域中脱离出来。然而，我们的关注点不在于对故事本身的解读，而是叔父的命运如何预示着文学形式的转变。如果说《叔叔的故事》追溯了一个小说家转变为作家的轨迹——在写游记和随笔的同时，倾注了散文式的细腻情感——那么当代中国的随笔就是史诗写作和历史话语的一种释放。这是对文学市场和消费者口味的一种释放，是对无处不在的生活世俗化和消费主义抬头的回应。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:02, 9 December 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
It comes as the image of a loosening up of the previous, ideologically controlled life, which is now becoming more private, more disjoint and fragmented, more removed from the totalistic social and political process.  Yet history has not become the simulacrum to play with, as envisioned by the younger narrator or the Uncle himself as he catches up with the fashions.  China’s social reality does not square so nicely with the essayistic playfulness one may wish.  Thus the essay as a cultural form is caught in a tension between withdrawal from the burden of history and the possible return of the repressed.  &lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
'''Mulish Essays: the Genre of ''Zawen'' in Contemporary China&lt;br /&gt;
'''&lt;br /&gt;
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''Mary Scoggin''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
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Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? This paper illustrates the trope of tone through the particularly ,sonorous' work of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his ''zawen''. The distinct and beleaguered social and cultural space for ''zawen'' in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, ''zawen'' depends upon something within the earthy noise of moody, mulish voices to carry its messages. Like most poetry, but unlike most fiction and drama, ''zawen'' is itself a first person voice, not a representation of voices.&lt;br /&gt;
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拗口的文章：当代中国“杂文”的体裁&lt;br /&gt;
&lt;br /&gt;
玛丽·斯高格&lt;br /&gt;
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文章中的语气是一种讽刺的修辞手法;你怎么能通过印刷的油墨来引导声音中所携带的东西呢?本文通过邵云翔的《诗文》来说明这种修辞手法。邵云翔是一位官方诗人，他退休后以将诗歌化为论战体的杂文而闻名。在当代中国，“杂文”独特而又备受围攻的社会文化空间，揭示了“调”在汉语写作中的机制、意识形态和意义。与其他文学体裁相比，“杂文”更依赖于泥土般的喧嚣、忧郁、固执的声音来传达它的信息。像大多数诗歌一样，但又不像大多数小说和戏剧，“杂文”本身是第一人称的声音，而不是声音的代表。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:36, 12 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, ''zawen'''s ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can find their seat and sit in it, or take offence. While readers love and hate their morally and politically provocative ''zawen-of-the-moment'', writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. &lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
Eventually they even preserve ''zawen'', long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the ,dagger and spear' is thus not only a sly political weapon, but also a complex sculpture of the self, chiseled by the cantankerous tones of social dialogue.&lt;br /&gt;
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In contemporary textbooks and manuals of Chinese essay composition, the “miscellaneous essay,” [literally, “mixed essay,” referred to as ''zawen'' hereafter] is presented as a particularly “Chinese” essay genre within a global view of universal literary categorization.&lt;br /&gt;
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杂文中的典故，笑话和挖苦的细节常令人茫然，在这些细节被人遗忘之后，“杂文这一体裁最终得以保存”， 读者经常将自身职业价值汇编成一些小册当做是自己的离散描述杂文，然后将分小册发给朋友和仰慕者。 因此，鲁迅的“匕首与长矛”流派不仅是狡猾的政治武器，而且是复杂的自我雕塑，为社交对话的残酷语调所勾勒。&lt;br /&gt;
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在当代中国散文写作的教科书和手册中，“杂文”（直译为“杂文”，以下简称杂文）在全球普遍文学分类的全球视野中被视为一种特别的“中国”散文类型。 --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)&lt;br /&gt;
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最终，作者们甚至能在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，仍然保留着&amp;quot;杂文&amp;quot;。他们常常把自己职业生涯的价值编成小本子，作为自己的话语肖像送给朋友和仰慕者。因此，鲁迅的 &amp;quot;匕首和长矛 &amp;quot;流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。&lt;br /&gt;
在当代中国散文的教科书和手册中，&amp;quot;杂文&amp;quot;[字面意思是 &amp;quot;杂文&amp;quot;，以下简称杂文]被作为一种极具 &amp;quot;中国性&amp;quot;的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 06:19, 11 December 2020 (UTC)&lt;br /&gt;
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最后，在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，他们甚至仍然保存着杂文，常常把他们职业生涯的价值编成小本子，作为自己的语录送给朋友和崇拜者。因此，鲁迅的“匕首和长矛”流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。&lt;br /&gt;
在当代中国作文的教科书和手册中，“混杂的文章”，【字面意思是“杂文”，以下简称杂文】被作为一种特别“中国”的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:16, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
Lu Xun, the genre's initial back-handed champion, quipped sardonically that although he searched the standard encyclopedia thoroughly, he was unable to locate the genre of “tsa-wen” in any authoritative foreign classification.  Lu Xun's sarcasm includes both defiance and self-conscious uneasiness about a writing practice that Chinese circumstances, he felt, rendered peculiar and unseemly upon a world stage.  Compare the comments of a recent critic of ''zawen'':&lt;br /&gt;
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In Chinese affairs, there is a strange phenomenon that has held true until the present time, and that is; the value of any certain thing has to be established by a foreigner or by some common foreign publication.&lt;br /&gt;
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鲁迅是这一文体的最初的反对者。他曾讽刺说，他翻遍了标准的百科全书，但在任何权威的外国分类中都找不到 &amp;quot;tsa-wen &amp;quot;这一文体。 鲁迅的讽刺既有对一种写作方式的蔑视，也包含了自觉的不安，他认为中国的环境使这种写作方式在世界舞台上变得奇特而不雅。 比较最近的一位批评家对''杂文''的评论：&lt;br /&gt;
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在中国的事务中，有一种奇怪的现象一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 01:56, 11 December 2020 (UTC)&lt;br /&gt;
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鲁迅一开始就反对这一文体。他曾讽刺道，即使翻遍了标准的百科全书，也无法在任何权威的外国分类中都找到 &amp;quot;tsa-wen &amp;quot;这一文体。 鲁迅的讽刺既含有对这一文体的蔑视，也带着一丝不安，他认为中国当时的环境让这一文体在世界舞台上变得奇特而不雅。 比较一位批评家对''杂文''最近的评论：&lt;br /&gt;
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在中国，有一“怪象”一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:07, 12 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
As for this thing called modern Chinese ''zawen'', because its Chinese characteristics are too strong, Westerners truly have a hard time understanding them, and thus have difficulty in researching this subject...  the American writer Pearl Buck said something like: 'this thing called ''zawen'' is too peculiar, you really cannot understand it.'  That is why only Chinese people themselves can evaluate this phenomenon called zawen.  (Yan Xiu in Zhang Hua [all translations by Scoggin unless otherwise noted])&lt;br /&gt;
In this passage, Yan Xiu, an eminent writer and critic, articulated Lu Xun's defiance of the foreign authority to categorize essay genre in a relatively explicit way, while also maintaining a typical ''zawen''-esque playfulness of style.  He continues his commentary;&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
But we do not need to worry about this long period of neglect in which foreigners do not recognize ''zawen.''  Even if a foreigner were to burst his/her mind researching Chinese zawen, I am afraid that they would not be able to research anything out of it even if they researched themselves flat broke and starving.  But Chinese people all understand them easily.  If they were not able to maintain the abiding appreciation and understanding of Chinese readers, this practice would have been lost.  The historical reasons and significance for the creation and propagation of ''zawen'' in China are worth serious research and theorizing (ibid.).&lt;br /&gt;
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Bravely dismissing the risk of bankruptcy, I do propose to research and theorize the culture of this funny genre of essay in all of its supposed inscrutability.&lt;br /&gt;
但是，我们不必担心长期以来外国人不承认杂文。虽然外国人来研究研究中国的杂文会大打折扣，因为他们无法研究其中的任何内容，尽管他们也研究自己的破产和饥饿。但杂文对中国人来说都很容易理解。 如果外国人不能保持对中国读者的长期欣赏和理解，这种事情便会不复存在。在中国创造和传播杂文的历史原因和意义值得认真研究和理论化（同上）。&lt;br /&gt;
虽然没有了破产的风险，但我真的建议去研究和论证这种有趣论文类型的文化，因为它具有所有假定的不可理解性。&lt;br /&gt;
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 02:26, 12 December 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
One ubiquitous characterization of zawen from textbooks and manuals is built upon the metaphor of the mule. This metaphor suggests a number of qualities, including hybrid vigor and strength, stubborn bad-temper, and resilience in the face of obstacles.  Mules kick, spit and bray with distinctive exuberance.  ''Zawen'' are often considered an awkward combination of “part-poetry, part politics” (Lin).  Cross-bred traits extend the qualities of a mule; ''zawen'' are bred to toil at the most difficult of human labor, they are strong, hard-working and rather famously unloved creatures, best known for their expressive obstinance.  &lt;br /&gt;
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So how does an essay kick, spit and bray?  In Chinese theoretical discussion of ''zawen'' the metaphor moves from kinetics to sound; ''zawen'''s kick is located in its “tone,” a term taken from music, although the sound here is can be distinctly unlovely.&lt;br /&gt;
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从教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻暗示了一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的弹性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。&lt;br /&gt;
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那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:44, 11 December 2020 (UTC)&lt;br /&gt;
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教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻表明了它的一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的耐性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。&lt;br /&gt;
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那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:49, 13 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
Elsewhere I have examined the function of “tone” through the lens of the published record of debate over tone between literary editors (see Scoggin 2001).  I have posited the idea that approaches to writing ''zawen'' fall into two interdependent strategies, one overt and one covert, both blending the tactics of politics and poetics in perfect measure.  Overt ''zawen'' are relatively bold and obvious in their churlish tone, reflecting confidence in a tolerant audience.  Covert ''zawen'' are sometimes difficult to identify, disguised or hidden within other genre of writing, but still drawing upon the distinctive tones of ''zawen'' through intertextuality and other tricks.  &lt;br /&gt;
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Below, I examine the mechanics of ''zawen'' tone through contrasting these two style of ''zawen'' issuing from a single pen, that of poet and noted ''zawen'' writer Shao Yanxiang.&lt;br /&gt;
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在其他地方，我通过已发表的文学编辑之间关于语气的争论记录（见Scoggin 2001）来考察“语气”的功能。我认为，杂文的写作方法可以分为两种相互依存的策略，一种是显性的，另一种是隐性的，两者都是政治策略和诗学策略的完美结合。公开的杂文相对大胆和明显的粗鲁语气，反映出对一个宽容的观众的信心。隐性扎文有时很难识别，伪装或隐藏在其他文体中，但仍然通过互文性和其他技巧利用扎文的独特音调。&lt;br /&gt;
下面，我通过对比诗人、著名杂文作家邵燕祥这两种杂文的风格，来探讨杂文声调的形成机制。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:34, 13 December 2020 (UTC)&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
The two essays discussed below form opposites sides of a spectrum of variable transparency, and vastly differing publishing circumstances, although they were composed only months apart by the same individual, one before and one after a specific political event in China.  I argue here that unifying the two ''zawen'' is a particular subset of modal tropes, qualified as the verbal equivalent to a mule's kick, bite or bray.  The expression of this unclearly delineated but distinctive subset of modal tropes is the single central mission of ''zawen'' as a genre in Chinese literature and society.  Chinese theoretical debates over “tone” specifically address the function of this kind of modal trope. While sometimes as bald and direct, as in the overt ''zawen'' “Pei pei pei! ”?discussed below, many zawen conceal their weapons, depending upon contextual circumstances of publishing to pack their punch, as does the essay “East Station,” also discussed below.&lt;br /&gt;
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下面讨论的这两篇文章形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章是由同一个人撰写的，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸”?中，许多杂文隐藏他们的武器，根据发表的语境环境进行重击，正如文章《东站》，也将在下面讨论。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:09, 9 December 2020 (UTC)&lt;br /&gt;
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下面讨论的这两篇文章从相反的角度形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章由同一个人撰写，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸！”?中，许多杂文隐藏起他们的武器，根据发表的语境环境进行重击，正如将在下面讨论的文章《东站》。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 11:34, 9 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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Both types of ''zawen'' should be read “ethnographically,” in concrete social and historical circumstances.  After covering some of the primary textual elements of ''zawen'', I will demonstrate the significance of more subtle contextual gestures of ''zawen'', which must be read out of the process of submitting and publishing ''zawen''.  Through the contrast of these two essays, I will explicate and generalize about the formation and mechanics and of tone in modern Chinese literary history, and offer a thesis upon the reception of Chinese literature in Western scholarship as well.&lt;br /&gt;
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杂文的两种类型都应该置于具体的社会和历史环境下，以“民族志”的方式解读。在介绍杂文一些基本的文章要素后，我会揭示杂文更细微的语境姿态的意义，而这个只能从提交和出版杂文的过程中解读出来。通过对比这两篇文章，我会我将对中国现代文学史上基调的形成、机制和基调进行阐述和概括，并就西方学术界接纳中国文学这件事发表一篇论文。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:05, 9 December 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
An Demonstrative Sample – “'Pei Pei Pei!'?”&lt;br /&gt;
''&lt;br /&gt;
A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say.  He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there should be no more “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. (Shao 1993, 181)&lt;br /&gt;
So begins an essay entitled “呸呸呸!”? composed in February of 1989.  I will return to the circumstances of publication shortly, but first I will demonstrate the trope of tone through this representative sample ''zawen.&lt;br /&gt;
''&lt;br /&gt;
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一个“呸呸呸！”的示例&lt;br /&gt;
一个文学圈外的朋友让我给他找来一些呸呸呸的文章来读一读，我只好面无表情地看着他，无话可说。他就解释说，他在报纸上看到某省领导在一次宴会上宣布，各地不应再说“呸！呸！呸！”了，所以很明显到处都在说呸！呸！呸！。(邵1993，181) 1989年2月创作的一篇题为《呸呸呸！》的文章是由此开始的。关于发表时的情形，我将在不久后再谈，但首先我会通过这篇有代表性的杂文样本来解释语气的特例。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:26, 13 December 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
A word like “Pei!” contains what we can call a modal trope, a figure of speech that captures mood and emotion, expressing not only subjunctive or declamatory mood, as adverbial modal tropes such as “could” and “should” may do in English, but also more subtly embedded mood in the semantics of lexical items (the meanings in words) expressing outrage, joy, command, sarcasm, threat, pathos, irony (Friedrich, 30-32).  Usually modal tropes work together with other functions of language but in the case of “pei!” the modal trope is more nearly pure, it stands primarily for the emotional tone it communicates.  A parallel sample in English might be something like “tut, tut, tut!” although “tut” fails to pack the censorious reproach of the Chinese “pei!”&lt;br /&gt;
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像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的心情和情绪，不仅表达了虚拟语气或宣告语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦的词汇项（单词中的含义）的语义中，用以表达命令，讽刺，威胁，悲伤，讽刺的情感（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。一个类似的英语例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:07, 12 December 2020 (UTC)&lt;br /&gt;
像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的语气和情感，不仅表达了虚拟语气或感叹语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦、命令、讽刺、威胁、伤感、反讽的词汇项（单词中的含义）的语义中（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。英语中一个类似的例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:39, 12 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
In the case of this title, modal functions are reinforced by several formal tropes.  Note the repetition (three pei's!) and the complex punctuation consisting of an exclamation point and a question mark, separated by quotation marks.  In the case of “Pei pei pei!”?, the ''zawen'''s own voice is not the primary expression of the tone of disgust.  The quotation marks invoke disgust only to distance it, while the question mark further challenges it.  The title alone demonstrates modal function with very little distraction; one character, two repetitions and three punctuation marks move this title in several modally intense directions at once with almost no referential content at all.&lt;br /&gt;
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就此标题而言，几个正式比喻加强了情态功能。注意引号将”呸！呸！呸！“以及由一个感叹号和一个问句组成的复杂标点分离开来。在”呸呸呸“的例子中，厌恶的语气并不主要是由”杂文“本身表达出来的，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:32, 12 December 2020 (UTC)&lt;br /&gt;
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就此标题而言，几个正式比喻加强了情态功能。注意重复“呸！呸！呸！”以及由一个感叹号和一个问句组成的复杂标点分离开来。在“呸呸呸”这一例子中，厌恶的语气并不主要由“杂文”本身表达，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:20, 12 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
“Pei pei pei!”? performs a transparent metadiscursive comment upon ''zawen'', in this case defending the extracurricular genre favored by declasse intellectuals like Shao Yanxiang, himself, a “retired” poet who had resigned with bitterness from his career at the central Chinese poetry journal ''Shikan'', and devoted his post official career to writing zawen.  Upon learning of this unnamed “provincial leader's” complaint about “pei pei pei”-ing, and sensing that he himself bore some responsibility for this reportedly lamentable state of affairs, Shao writes that he discovered that the provincial leader had indeed characterized a kind of caustic, sarcastic disparaging discourse about the party, the nationality and the people, as “pei pei pei-ing all over the place” and that he had further warned that this kind of talk was spreading a mood of despair and hopelessness. &lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
In the remainder of this essay Shao ridicules said provincial leader's complaint as circular, admitting no culpability on the part of his own fellow ''zawen''-writing social critics. &lt;br /&gt;
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The tone of “Pei pei pei!”? is that of pointed irony, expressed recursively upon three levels.  The first level is located in the words themselves, including the use of “pei” I have described above.  This “first order” irony, as I have described it (Scoggin 1997), is an elementary type of sarcasm, a part of the conventional rhetoric of any language, written or spoken, and not usually misunderstood by a competent interpreter.&lt;br /&gt;
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在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。&lt;br /&gt;
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“呸呸呸”的语气是尖锐的讽刺，递进的传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员误解。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:34, 12 December 2020 (UTC)&lt;br /&gt;
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在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。&lt;br /&gt;
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“呸呸呸”的语气是尖锐的讽刺，以递进的方式传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员所误解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:46, 11 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
Other examples of this level of tone in  “Pei pei pei!”? would include the attitude of “stupidity” Shao Yanxiang assumes when he claims that he looks for pei pei pei ing “all over the place” but cannot find any at all, and the repeated use of expressions he lifted from the pointedly unnamed “provincial leader's” talk, including the primary charge of “mockery, sarcasm and scornful dismissal” Shao is refuting, and also the leader's assertion of  “discipline and rectification,” which Shao has skillfully turned into a counter charge.  &lt;br /&gt;
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A second level of irony requires contextual knowledge on the part of the reader.  This includes assumptions that would be obvious to most readers.&lt;br /&gt;
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“呸呸呸!”？中这种程度的语气的例子包括，邵彦祥在“到处”寻找呸呸呸，却一无所获时所采取的“愚蠢”的态度，以及他从完全不知名的“省级领导”的谈话中反复使用的表达方式，包括主要的“嘲笑、讽刺和轻蔑的解雇”，邵逸祥反驳道，还有领导对“纪律严明”的断言，邵巧妙地把这句话变成了反击。&lt;br /&gt;
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第二层次的反讽需要读者的语境知识。这包括对大多数读者来说显而易见的假设。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:03, 11 December 2020 (UTC)&lt;br /&gt;
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“呸呸呸！”中这种音调水平的其他示例吗？其中包括”愚蠢”的态度，邵燕翔宣称当他在“到处”寻找呸呸呸的时候，却在哪儿也找不见它了，以及从完全不知名的“省领导的”的讲话中，他指出了那些重复的使用，包括邵伟反驳的主要指控“嘲弄，嘲讽和轻蔑”，以及领导人对“纪律和整顿”的主张，邵伟已巧妙地将其反驳。&lt;br /&gt;
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第二层次的反讽需要需要该部分读者的语境知识。这包括了对于大多数读者来说都显而易见的假设。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 13:06, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
For example, Shao Yanxiang claims that he has never heard of the idea that “literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.”  But just such a position has clearly been long-standing socialist policy for many kinds of public writing, including media news and literature.  References to historical events in terms like the cultural revolution tones of “newspaper [published] by all the people” and Han Shaogong's controversial Post-Mao short story “Ba Ba Ba” fall somewhere in between the first and second levels of ironic tone.  &lt;br /&gt;
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A third level, which I have labeled “indexical irony,” makes use of immediately contextual information such as the actual publishing outlet of the essay (in this case, the mainstream ''Literature Journal'' essay column “Literature and the People's Lives,” which Shao mentions at the end of the article) and Shao's own writing persona.&lt;br /&gt;
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例如，邵彦祥声称他从未听说过“文学出版物应在稳定人民思想，增进信仰，不使人民意志消沉方面有所帮助”这一思想。 但是，这种立场显然已经成为包括媒体新闻和文学在内的许多公共写作的长期社会主义政策。 对历史事件的引用，例如“全民[报纸]的文化大革命”和韩少功备受争议的毛泽东短篇小说“八八八”，都介于第一和第二讽刺语调之间。&lt;br /&gt;
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第三个层次，我称之为 &amp;quot;索引性反讽&amp;quot;，利用文章的实际出版渠道（在这里，邵在文章结尾提到的主流''文学报''散文专栏 &amp;quot;文学与百姓生活&amp;quot;）和邵自己的写作人设等即时语境信息。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:13, 9 December 2020 (UTC)&lt;br /&gt;
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比如，邵燕祥声称，他从来没有听说过 &amp;quot;文艺刊物要对稳定民心、增加信仰、不挫伤民心意志有帮助 &amp;quot;的观点。 但就这样的立场，显然是包括媒体新闻和文学在内的多种公开写作的长期社会主义政策。 像 &amp;quot;全民办报（出版）&amp;quot;的文革调子和韩少功的争议性后毛短篇小说《巴巴》等词语对历史事件的提及，都属于第一和第二层次的反讽调子。 &lt;br /&gt;
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第三层次，我称之为 &amp;quot;索引性反讽&amp;quot;，利用文章的实际出版渠道（在这里，邵逸夫在文章结尾提到的主流''文学报''散文专栏《文学与人民生活》）和邵逸夫自己的写作人设等即时语境信息。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:17, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
''Zawen'' often make extensive use of this third, intimately contextualized level.  In this case Shao claims that he can find no “pei pei pei” articles, but many readers would recognize that he himself is well known for writing ''zawen'' that would certainly qualify.&lt;br /&gt;
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In “Pei pei pei!”? Shao Yanxiang has deliberately sought out an accusation that he then counters with withering acerbity.  Complaint, combat and disgust are just the beginning of the range of contentious moods that ''zawen'' represent.  ''Zawen'' accuse, retaliate, needle, and snarl; but as I will demonstrate shortly, they can also moan and sigh with considerable subtly.  Either way they clothe all this, quite often, in word games of subterfuge and indirectness, which -- beyond the intellectual puzzle of circumlocution also common in other genres of verbal art -- carries the weight of ''zawen'''s mission in the singular feature of tone.&lt;br /&gt;
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“杂文”常常广泛运用第三层次，即与语境化紧密联系的层次。在这种情况下，邵燕祥声称他找不到“呸呸呸”的文章，但许多读者都知道，他本人以写“杂文”而闻名，这肯定是符合条件的。&lt;br /&gt;
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“呸呸呸!”? 邵燕祥故意找人指责他，然后用尖酸刻薄之语加以反驳。抱怨、战斗和厌恶只是“杂文”所代表的一系列有争议情绪的开始。“杂文”是指责、报复、针锋相对、咆哮的；但正如我稍后将演示的那样，它们也可以相当巧妙地呻吟和叹息。不管怎样，他们常常把这一切穿插在诡辩和间接的文字游戏中，这一点——除了在其他语言艺术流派中常见的迂回曲折的智力谜团之外——承载着“杂文”的使命，即声调的独特特征。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 03:01, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
As a ''zawen'' writer, the “provincial leader's” complaint is exactly the sort of accusation intellectuals like Shao Yanxiang are accustomed to facing. His defense links the ''zawen'' mission to many others we could find in diverse settings; he is also answering, for example, Spiro Agnew's famous condemnation of “nattering nabobs of negativism” in American public discourse, and displaying the cross-cultural breadth of a “Jeremiad,” evident in the travel-worthy allusion of the very term, rooted in biblical texts.  In this and other ''zawen'', Shao defends the contemporary Chinese genre of zawen as genre of protest and complaint.  He borrows the insult of a critic to distinguish thoughtless emotional battering from the carefully aimed spar, which is both his own ideal and the standard mission of the genre of ''zawen.''&lt;br /&gt;
作为一个“杂文”作家，对于来自“省领导”的批评，像邵彦翔这样的知识分子已经习惯面对。他对领导做出的解释让人们把写杂文和我们可以在不同环境中找到的其他任务联系起来;例如，他还解释了斯皮罗·阿格纽(Spiro Agnew)为什么要谴责美国公共演讲中著名的”喋喋不休的消极主义者，并说明了这种悲哀在跨文化上，在这个源自圣经的术语的典当中的广泛性。在这篇杂文和他其他的作品中，邵表示当代中国的杂文是用来表达抗议和不满的文体。他借用了批评家的侮辱言论来区分无意识的情感伤害和有意的争吵，这既是他自己的理想，也是“杂文”应该表现的。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 15:08, 11 December 2020 (UTC)”&lt;br /&gt;
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作为一名“杂文”作家，“省领导”的抱怨正是像邵燕祥这样的知识分子习惯面对的那种指责。他对领导做出的解释让人们把写杂文和我们在不同环境中可以找到的许多其他任务联系起来；例如，他还回答了斯皮罗·阿格纽（Spiro Agnew）在美国公共话语中对“消极主义的喋喋不休”出名的谴责，并展示了&amp;quot;耶利米德&amp;quot;的跨文化广度，这一术语在源于圣经文本的关于旅行的字词中显而易见。 在《杂文》和其他杂文中，邵燕祥为当代中国的杂文流派做辩护，认为杂文是抗议和抱怨的流派。他借用批评家的侮辱来区分思想上的情感打击和精心策划的争吵，这既是他自己的理想， 也是 “杂文” 流派的标准使命。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 09:05, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
'''A Restrained Sample – “East Station”'''&lt;br /&gt;
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I have outlined how one essay demonstrates the function of ''zawen'' in a particularly transparent way, but some of the best and most effective zawen are covert operations.  On the opposite side of spectrum of transparency, we can place a relatively understated and “essay-like” ''zawen'', also by Shao Yanxiang. “East Station” was submitted for a national ''zawen'' competition in a southern evening newspaper in 1994.  It was judged too “sensitive” to publish by the zawen editor, but nevertheless it was privately noted by the editors as the unofficial winner of the competition.  At first glance there is very little to mark it as a ''zawen'' at all, not to mention a seditious ''zawen''.&lt;br /&gt;
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受约束的样本–“东站”'''&lt;br /&gt;
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我已经概述了一篇文章如何以一种特别透明的方式展示“ 杂文”的功能，但是一些最好，最有效的杂文是秘密行动。 在透明度范围的另一面，我们可以放一个相对低调的，也像邵燕香一样的“散文式”“ 杂文”。 1994年，“东方站”在南方晚报上提交给全国“ 杂文”竞赛。它被杂文编辑认为过于“敏感”而无法出版，但编辑私下指出它是非官方的比赛获胜者。乍一看，几乎没有什么可以将其标记为“ 杂文”的，更不用说煽动性的“ 杂文”了。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:47, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
It is a rather lyrical survey of historical images centering upon  refugees, migrants, political and literary figures on their passages to and from Beijing.  It does, however, contain a few of the indications of first level irony that traditionally mark a ''zawen'', such as a “quotation” placed for its jarring effect, as in the opening passage below.&lt;br /&gt;
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Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred the Beijing East Station that lies to the outer East Side of  Front Gate.  Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.”  It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.&lt;br /&gt;
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此文是以流民，移民，政治和文学人物往返北京为中心的历史形象的抒情研究。然而，它确实包含了一些传统上标记“杂文”的第一层讽刺的暗示，例如为了其刺耳效果而放置的“引语”，如下面的开头段落所示。&lt;br /&gt;
三十年前的北京，如果提到“东站”，大家都会知道是指位于正门外东侧的北京东站。如今，这座半西化建筑风格的不起眼的建筑，夹在喧嚣闹市的高楼大厦之间，支撑着一块“铁路工人俱乐部”的小牌子，已是“古文物”，昔日的繁华辉煌早已一去不复返了。&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
The somber opening paragraph is in part marked as a zawen by the appearance of snapshot “quote,” in which what might have been a significant icon of Beijing history is reduced to a cheesy “Railway workers club” sign hanging on a architecturally half-breed building not even worthy of preservation.  Other ironic comments of this sort include Shao's sarcastic reference to Guo Moruo;&lt;br /&gt;
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And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy.  At the time, he composed a poem “How much of the people's blood was spilled for this honor.&lt;br /&gt;
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沉闷的开场白部分是由快照“引文”的出现而标记为杂文的，其中可能是北京历史上的一个重要标志，被简化为一个俗气的“铁路工人俱乐部”标志，悬挂在一座半成品建筑上，甚至不值得保存。 其他类似的讽刺评论包括邵逸夫讽刺郭沫若；&lt;br /&gt;
1949年3月，当郭沫若和他的民主党人齐聚北京时，他们受到了隆重的欢迎，他们流下的泪水是喜悦的。当时，他写了一首诗“为了这个荣誉，人民的洒了多少鲜血。&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.”  -- I do not know why, but this poem was not collected in any of his later collections.&lt;br /&gt;
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In a similar but more deeply contextualized vein would be Shao Yanxiang's allusion to Tu Fu's escape during the An Lu Shan rebellion during the Tang Dynasty contained in the quoted term “fortuitous rescue.”  Shao's general structure in this piece is a recurring cyclical allegory that parallels the Japanese, the Nationalists and the Communists in bitter condemnation of the last, as only one more invasive army disturbing the lives of ordinary Chinese people.  The People's Traffic Police also take their place in this cycle, a silly reminder that we are still in the realm of ''zawen''.&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
Obviously this kind of first and second-level rhetorical sarcasm and historical irony alone is not enough to define an essay as a ''zawen'', but the difficulty of assigning an essay its genre is also no obstacle; ambiguous “mixedness” is part of ''zawen'''s identity.  This covert zawen depends most fundamentally upon indexical irony, to an extent that surpasses “Pei Pei Pei!”?, above.  One crucial feature that makes “East Station” a ''zawen'' is the entirely untextual fact that Shao Yanxiang submitted it in a competition specifically designated for ''zawen'' in a provincial evening newspaper.  The editors did not reject the piece as “non-''zawen'',” on the contrary, they complained that it contained too much of the requisite ''zawen'' pique.  In order to understand this, we must again go beyond the actual words of the piece.&lt;br /&gt;
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仅从一级和二级讽喻修辞及历史讽刺角度分析显然不足以将一篇文章定义为“杂文”，但将一篇文章分类的难题也不是什么障碍；含糊“混杂”是“杂文”的特点之一。杂文的隐蔽性更多地依赖于索引性讽刺，在某种程度上来说，它超越了“呸呸呸！”。把《东站》这篇文章归为“杂文”的一个关键因素是由于其完全无文本性这一事实，邵燕祥在地方晚报“杂文”特辑上发表这篇文章。编者也不否认这篇文章不是一篇“杂文”；相反地，他们抱怨这篇文章涵盖太多“杂文”必不可少的气息。为了解这一点，我们必须再次透过文字本身来看这篇文章。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:49, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
In a late night conversation in which the managing editor and two guests including myself drank beer and discussed the ''zawen'' competition to which “East Station” was submitted, the editor mused about the publication that wasn't.  She said;&lt;br /&gt;
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Actually Shao Yanxiang submitted two manuscripts, but I had to return one.  (Reaching around to a drawer) Well, I wanted to return it to him, but then I couldn't bear to.  The original is still here, I wonder if you will understand?  It requires some background...At the time it was the head editor that rejected the manuscript.  He also felt badly, but there was no question but that it could not be printed, because it would certainly cause trouble...This happens with your friends, but I really felt uncomfortable about this one.&lt;br /&gt;
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在那个深夜，总编辑与包括我在内的两位客人喝了啤酒，我们还讨论了杂文竞赛，有本参赛的书叫“东站”。想到那本未出版的书。 编辑陷入了深思，她说：&lt;br /&gt;
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实际上邵炎祥上交了两份手稿，但我必须退回一份。 （她接着走到抽屉边）是的，我想把这份还给他，但我还是不忍心。 原稿还在这里，我想知道你们是否会明白？ 这需要对当时的背景有一些了解...当时是首席编辑拒绝了手稿。 他也感到难受，但无疑这本书不能被印刷出来，因为到时候肯定会引起麻烦……他是你们的朋友，但是我真的对此感到不舒服。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:44, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
Because this essay was just written so well.  He just wrote about the East Station, but he used Beijing East Station to talk about his view on everything. (Scoggin Fieldnotes)  &lt;br /&gt;
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She continued to discuss the essays that were just too “that way” (''neige le'') as they came in for the competition. “One day the police came and looked through that box all afternoon!” she added.  The managing editor's two guests that evening jumped on her comment, “They what!?” But she retained the appearance of serenely refusing to interpret this police visit as a sinister gesture.&lt;br /&gt;
It was just manuscripts, why should they look at those?  They said they were just reading, there were two of them, I really don't know, I guess they enjoyed reading them too.(ibid)&lt;br /&gt;
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因为这篇作文实在是写得太好了。他只是写了东站，但是他用北京东站来谈他对一切的看法。(史可法场记)&lt;br /&gt;
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她继续谈论参赛的散文，认为文章太&amp;quot;那样&amp;quot;了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，主编的两位客人突然评论道：“他们干什么！”但她平静地拒绝将这次警察访问解释为一种险恶姿态的外貌。&lt;br /&gt;
这只是手稿， 他们为什么要看那些？他们说他们只是在读书， 有两个， 我真的不清楚， 我想他们也喜欢读吧。（同上）--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:17, 12 December 2020 (UTC)&lt;br /&gt;
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因为这篇文章写得太好了。他只是写了东站，但他用北京东站谈他对一切的看法。(史可法场记)&lt;br /&gt;
她继续谈论参赛的散文，认为文章太&amp;quot;那样&amp;quot;（奈格乐）了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，总编辑的两位客人突然说道，“他们在干什么！？”但她仍然保持着平静的样子，拒绝把这次警方的访问解释为一种邪恶的姿态。&lt;br /&gt;
这只是手稿，他们为什么要看那些？他们说他们只是在看书，有两个，我真的不知道，我想他们也喜欢看吧。（同上）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:14, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
When she finally found the manuscript (tucked away where snooping police would not have found it) she decided to give it to me.  She said she had called Shao Yanxiang to tell him that they could not print it, and even though he had said he understood, she still hated to bring the matter to his attention again by sending the essay back to him, and now it seemed too late. Since I was also acquainted with him, and clearly admired him, giving the manuscript to me as research material seemed to her to be a fitting conclusion to the whole matter. &lt;br /&gt;
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In the original manuscript of “East Station” is signed, as is the custom, with the date it was composed at the bottom, “September 13, 1989.”  Although it was submitted to the newspaper in 1994, in a private note scrawled to the editors, Shao added; “Please don't cut or change this date.&lt;br /&gt;
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当她终于找到手稿时（藏在窥探警察找不到的地方），她决定把它给我。她说，她曾打电话给邵燕祥，告诉他，他们不能打印。即使他说，他理解，她仍然不愿意再次提请他注意的问题，把文章给他，现在似乎为时已晚。由于我也认识他，显然很敬佩他，把手稿给我作为研究材料，在她看来是整个事情最合适的结果。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)&lt;br /&gt;
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在原稿上签着“东站”，按照习俗，与日期“1989年9月13日”一起在底部。虽然1994年它提交给了该报，但用一份私人便条向编辑们草草写了字，但邵补充说：“请不要剪掉或更改此日期。”--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)&lt;br /&gt;
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终于她找到了手稿，并且决定把它给我。她说，她曾打电话给邵燕祥，告诉他，这本书不能印刷出版。邵燕祥说他理解，但她还是不愿意把手稿还给他，以免让他再次想起这件事，但现在似乎为时已晚。由于我也和他熟识，并且显然很敬佩他，把手稿给我当做研究材料，在她看来是最好的选择。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:51, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
The new railway station began operation in 1959, and this fits in parallel with 'more that thirty years ago' at the beginning of the essay.”  The emphasis upon these dates forces a new consideration of the essay as a whole.  Suddenly the parallel between Nationalist, Japanese and Communist cycles of refuge and expulsion he mentions are rendered a sinister reference to a modern “rebellion” in the spring and summer of 1989.  The date heightens the threat of Shao's concluding two sentences; “Today will also become history.  And every inch of Beijing earth will provide proof of its history.” The scrawled note links 30 years, 1989, “today,” and the defiant “inches of proof” that mark East Station as a zawen, even beyond the micro structure of submission channels.  For all its elusively distant tone, East Station suddenly became a pointed, angry, and, even in 1994, unpublishable ''zawen''.&lt;br /&gt;
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新火车站于1959年开始运营，这与文章开头的'三十多年前'相吻合&amp;quot;。对这些日期的强调，迫使我们对文章的整体进行新的考虑。突然间，他提到的国民党、日本和共产党的避难和驱逐周期之间的平衡，被恶意渲染成1989年春夏的现代 &amp;quot;叛乱 &amp;quot;。这个日期强调了邵的最后两句话：“今天也将成为历史。而北京大地的每一寸土地都将为其历史提供证明。&amp;quot; 这张潦草的纸条将30年、1989年、&amp;quot;今天 &amp;quot;和不顾一切的 &amp;quot;寸土寸金 &amp;quot;联系在一起，这标志着东站作为一个杂文，甚至超越了提交渠道的微观结构。尽管东站的语气难以捉摸，但它突然变成了一个尖锐的、愤怒的、甚至在1994年还无法出版的杂文。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:15, 9 December 2020 (UTC)&lt;br /&gt;
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新火车站于1959年开始运营，与本文开头的“三十多年前”相适应。” 对这些日期的强调迫使我们对论文作为一个整体进行新的考虑。 他提到，国民党，日本人和共产党人的避难和驱逐循环之间的相似之处突然变成了对1989年春夏的现代“叛乱”的阴险参考。这一日期加剧了邵的结论的威胁。 今天也将成为历史。 北京的每一寸土地都将提供其历史的证明。” 散乱的笔记将1989年的30年（今天）与挑衅的“几分证据”联系起来，这标志着东站成为杂文，甚至超出了提交渠道的微观结构。 尽管遥不可及，但东站突然变得尖锐，愤怒，甚至在1994年，也无法发表“杂文”。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
'''A Larger Trend: Revealing Ugly Truth through Troubled Tones'''&lt;br /&gt;
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It is almost a matter of definition, then, that discordant, troubling tones are the characteristic, even of the most beautiful ''zawen''.  I have not illustrated “ugly” ''zawen'' here, but they do exist, and in profusion.  Many ''zawen'' are suffused in a preachy, pedantic tone that is sometimes quite off-putting to Chinese and non-Chinese readers alike.  And yet, like the larger category of essays in Chinese literature, ''zawen'' remain a popular staple in the literary supplements of Chinese newspapers, and many prominent writers turn later in their career to writing ''zawen''.  In contemporary history the “mule” genre of ''zawen'' has also played a significant political role far beyond its humble posture (see Scoggin 1997).&lt;br /&gt;
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一个更大的趋势。通过烦恼的语气来揭示丑陋的真相。&lt;br /&gt;
那么，这几乎是一个定义的问题，不和谐的、令人不安的音调是特征，即使是最美丽的杂文也是如此。我在这里没有说明 &amp;quot;丑陋 &amp;quot;的杂文，但它们确实存在，而且数量很多。很多文都充斥着一种说教的、迂腐的语气，有时让中国和非中国的读者都很不喜欢。然而，就像中国文学中更大的散文类别一样，杂文仍然是中国报刊文学副刊中的热门主打，许多著名作家在其职业生涯的后期都会转向写杂文。在当代历史上，&amp;quot;骡子 &amp;quot;文体也发挥了重要的政治作用，远远超出了它的卑微姿态（见Scoggin 1997）。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:57, 10 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
What is it about this genre that draws prominent writers, and commands significant attention of the Chinese readership?  The answer lies, I think, in assumptions about the mechanics of tone rooted in Chinese literary history.  To examine this problem we need to leave particular zawen behind and examine a larger picture that views Chinese literature via the globalized perspective that contemporary Chinese critics take.&lt;br /&gt;
&lt;br /&gt;
''Zawen'' as a category causes problems for Chinese as well as non Chinese classification, but there is a revealing divide between Western and Chinese treatment of zawen.  With few exceptions, ''zawen'' has been neglected as a subject of the study of Chinese literature from outside of China until recently (the Achern conference on the Modern Chinese Literary Essay being a rare exception, with several papers devoted to zawen.) &lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
While the problem of the status of zawen is not important in itself, I propose difficulties with this particular genre can reflect larger issues of significance to the study of Chinese literature and culture more generally.  ''Zawen'' can highlight some special features of Chinese writing that are latent in other, more respectable forms of Chinese literature and culture.  My research on ''zawen'' showed many instances of zawen being held up as a unique outgrowth of Chinese particularities, such as a fondness for brevity in verbal art, a tendency to take intellectuals more seriously than they are taken in contemporary societies elsewhere, as well as a few “perversions” that are supposedly unique to China, such as political tyranny that is strikingly detail-oriented, or collective aversion to verbal performance that is too straightforward (Scoggin 1997).&lt;br /&gt;
尽管杂文现状问题本身不是很重要，但是在更大层面上，即站在研究中国文学与文化的角度上看，克服掉研究这种特别类型的困难还是有很大意义的。“杂文”可以突显中国写作的一些独特特征，这些特征潜在于中国文学与文化中的其他更为体面的类型里面。在我对于“杂文”的研究里，展现了很多可证实杂文作为中国人性格发展结果的例子，比如说，喜爱口头表达的简洁，较比现代社会，以前的文人墨客被看得更重，以及一些中国独有的“反常”现象，比如明显关注细节的政治暴政或者对于过于直白的口头表现的集体厌恶。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 08:51, 13 December 2020 (UTC)Zhou Shiqing&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
Some of these claims for Chinese exceptionalism may be overblown; but I think that the genre, driven by what I argue is its central mission of tone, makes observable certain strains and practices that have acted as stumbling blocks to international research on other aspects of  Chinese culture.  &lt;br /&gt;
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Chief among those obstacles to the study of Chinese literature is what I call the “bad literature” complaint.[	For recent affirmations of this complaint, see Huters 1990, McDougall 1997, Link, 2000.  Earlier views in American sinology tie &amp;quot;bad literature&amp;quot; directly to the effects of political tyranny. ]  Summarizing several quite different lines of argument, the suggestion is that with all the promise of Chinese literature holds as a naturally poetic language, with rich, revered and well-preserved traditions, with the particular visual and grammatical advantages of the Chinese character and linguistic structure, and further with dedicated literary “troops” to use the modern Chinese metaphor for institutions of organized and supported writers, modern Chinese literature has failed to produce truly great literature.&lt;br /&gt;
&lt;br /&gt;
这些对中国例外论的主张也许有些夸大其词。但我认为，在我所说的语调中心使命的推动下，这一体裁产生了一些明显的张力和做法，它们成为了国际上对中国文化其他方面研究的绊脚石。&lt;br /&gt;
在中国文学研究的这些障碍中，最主要的是我所说的“糟糕文学”抱怨。[最近对这一投诉的肯定，见胡志德1990，麦独,1997，林克，2000，美国汉学早期的观点将“糟糕文学”与政治暴政直接联系在一起。]总结几条截然不同的论据，我们的建议是，尽管中国文学的所有希望都是一种自然诗意的语言，有着丰富、受人尊敬和保存完好的传统，具有汉字和语言结构的独特视觉和语法优势，而且还具有专门的文学作品“军队”，用现代汉语比喻制度中有组织、有支持的作家，中国现代文学未能产生真正伟大的文学作品。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:01, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
Obviously this generalization is subject to objection at many, if not all of its points.  I would argue, however, that the consistency with which similar arguments emerge, defensible or not, points to themes of some significance.  Complaints frequently accrue over the following literary practices;&lt;br /&gt;
&lt;br /&gt;
1)Indulging in churlish tones, including hectoring, scolding and otherwise “yelling” in print&lt;br /&gt;
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2)Adhering to one or another “politically correct line” &lt;br /&gt;
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3)Participating in personal squabbles and vendettas, sometimes involving extraliterary persecution of both writers and targets &lt;br /&gt;
&lt;br /&gt;
4)Exhibiting an “obsession” with China, and an oversized sense of responsibility for its fate&lt;br /&gt;
&lt;br /&gt;
显然，这一概括在许多方面(如果不是全部观点的话)都遭到反对。然而，我要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;&lt;br /&gt;
1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”&lt;br /&gt;
2)坚持自己的“政治正确路线”&lt;br /&gt;
3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害&lt;br /&gt;
4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:00, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
显然，这一概括在许多方面(如果不是全部观点的话)都会遭到反对。然而，我（在此）要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;&lt;br /&gt;
1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”&lt;br /&gt;
2)坚持自己的“政治正确路线”&lt;br /&gt;
3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害&lt;br /&gt;
4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:03, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
Interestingly, these complaints of “bad literature” are usually not strongly refuted by Chinese literary critics.  Fair, true or not, this sort of summary criticism of  the Jeremiah complex in Chinese literature in general is relevant to my discussion because these very faults that warrant the most notice are deliberately magnified in the genre of ''zawen'', and may be, I believe, essentially outgrowths of an almost unconscious commitment to the type of tone that defines the ''zawen'' genre most purely.  I argue that what has happened here is that readers and analysts have failed to recognize a literary strategy that reflects deeper ideas about how tone is supposed to operate in verbal practice.&lt;br /&gt;
&lt;br /&gt;
有趣的是，中国文学评论家通常不会强烈反驳这些对“烂文学”的抱怨。不管是否公平与真实,在中国文学中，这种耶利米情结的总结批评大体上和我的研究是相关的,因为这些最值得注意的错误在&amp;quot; 杂文&amp;quot;中被故意放大了。我认为,这本质上也许是纯粹对定义“杂文”体裁语气类型的无意识承诺的发展。我认为，这里的问题在于，读者和分析人士未能认识到一种文学策略，这种策略反映了语气在口头练习中应该如何发挥作用的更深层次的观点。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:08, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
These “off” tones are not just flaws and mistakes resulting from tyranny or exaggeration, nor are they mere signs of amateur literary expression, the struggles of a culture trying to modernize.  Instead they are held to be nearly involuntary markers, not of beauty, but what we will have to call for lack of a better word, “truth,” revealed by critical examination of shortcomings and problems that appear to stem from, again for lack of a better word, “culture.”  Culture, in the high modern ideology adopted more or less wholesale in contemporary Chinese theoretical systems is opposed to the neutral modernity of newspaper editorials and literary short stories and the other canonical genres of modern writing practices. &lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
Culture is not general, it is particular and peculiar, and Chinese culture exerts a powerfully perverse influence upon most genres of literature practiced in China.&lt;br /&gt;
&lt;br /&gt;
Examining tone in the broader context of Chinese culture reveals some of particular ways that social exchange, reference and the other mundane duties that plain (neutral, modern) words are supposed to carry out, must be crosscut with characteristically Chinese tone in order to communicate with the authority of truth, in explicit defiance of social requirements for polite and face-saving locutions held to be necessary in a uniquely Chinese way.  Thus, complaint about “bad literature,” from a Chinese perspective may not be a mere reflection of failure but, rather, an expression of protest, a modal trope, mule's kick that works with stubborn tenacity to reveal unpleasant truths.&lt;br /&gt;
&lt;br /&gt;
文化不是普遍的，而是特殊又独特的，中国文化对中国过去大多数流派的实用文学产生了强大的反常影响。&lt;br /&gt;
&lt;br /&gt;
在更广泛的中国文化语境中考察语气揭示了一些特定的社会交换的方式，必须以具有中国特色的格调横切，参照语和普通词语（中性，现代）词语应该承担的角色必须与具有特色的汉语语调相交汇以便与真理的权威沟通。显然，这无视以独特的中国方式所必需的礼貌和爱面子的社会要求。因此，从中国人的角度来看:对“不良文学”的抱怨可能不仅仅是失败的反映，而是一种抗议的表达，一种情感化的的比喻，一种用顽强的韧性来揭示令人不快事实的骡踢。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:51, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
''Zawen'' provide frequent commentary on precisely this issue.  Lan Ling, a major opponent of “New Tone” zawen theory provides a characteristically provocative commentary on writing “the ugly truth” through zawen.  In an essay that asks why such a fuss is made when a “upright and esteemed elderly writer” pronounces that he intends now to speak/write “the truth,” (he refers to Ba Jin, see ''Suiganlu'') Lan Ling demonstrates the difficulty of establishing truth through his own experience:&lt;br /&gt;
&lt;br /&gt;
It was several decades ago that they “struggled” me saying I was “reactionary.” I responded, “I am fundamentally not reactionary (''fandong''), in fact, I am actionary (''zhengdong'').”  They said, “There you go with sophistry, you are lying, who has ever heard of such a thing as 'actionary'?”  … But if what I said was false, that of course meant that what they said was true, and thus my political label was accomplished: “reactionary.”  After several decades this conclusion was overturned and rectified, so now what I had said became the truth.  (Lan, 85).  &lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
The irony and false fatalism of this ''zawen'' is characteristic of its style.  In this essay he claims to give up distinguishing the truth of his own speech; “No matter how difficult it is, this miserable person [I] still want to speak, and as for whether it is true or not, let someone else go analyze it.” (Lan, 85)  Lan Ling reveals that he has created, in the heat of struggle, a misnomer; there is no such word as “actionary.”  But, in the end, in its awkward and involuntary way, his retort rings true, what way is there to be, if not reactionary?  Displaying all four characteristics of the “bad literature” complaint I have listed above, this piece is still an admired ''zawen''.  It is the moody, but honest, kick of the mule.&lt;br /&gt;
&lt;br /&gt;
这种“杂文”中的反讽和错误的宿命论是其风格的特点。在这篇文章中他宣称放弃了甄别言论中的真伪；“不管有多困难，这个可怜的人[我]仍然想说，至于说的真假，就让别人去分析去吧。”（兰，85）兰陵表示，在激烈的斗争中，他出现过用词不当的情况；就比如没有像“actionary”这样的词。”但是最后他的反驳以笨拙和不自觉的方式听起来像是真的，即使不是反动派的话，还能是哪种呢？这篇文章展示了我以上所列举的“不良文学”的全部的四个特点，它仍然是一篇受人敬佩的“杂文”。它令人悲伤，但是真诚又执拗。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:25, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这类杂文的风格特点是讽刺和虚假的宿命论。在这篇文章中，他声称要放弃辨别自身言论的真假，&amp;quot;无论多么困难，这个可怜的人（我）还是要说，至于说的是不是真的，就让别人去分析吧&amp;quot;。(兰，85)兰陵透露，他在斗争的热潮中，创造了一个误区，没有 ’行动力‘这个词。”但是，最后，他以笨拙和不由自主的方式作出的反驳，听起来又像真的，如果不是反动性，还能有什么方式呢？这篇文章表现出我上面所批判列举的 &amp;quot;劣质文学 &amp;quot;的四个特征，但它仍然是一篇令人钦佩的杂文。它是有情调的，却诚实有执拗。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 09:09, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
''Tone in Historical Context''&lt;br /&gt;
&lt;br /&gt;
As evidence that it is the modal trope that inspired the genre of zawen from its inception, I conclude this essay with a brief look at historical manifestations of tone. It is key, and often part of the Chinese subtext, that the notion of tone (discussed alternately ''diao, yin, yun'') ultimately originates beyond words, in music. Even as a metaphor that must obliterate the acoustic qualities of sound when applied to written Chinese, tone maintains ties to the power of something that is in, or is like, sound, emphasizing physical, oral, informal and emotional qualities that are not part the rational process of exposition, this is the “poetry” of ''zawen''. Tone plays a role in a tremendous range of social events that surround and comprise writing.  It occurs in the figure of music as a central metaphor in the most influential theories of literature and poetry.&lt;br /&gt;
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历史背景下的音调&lt;br /&gt;
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为了证明这是情态修辞启发了扎文这一体裁的产生，我在这篇文章的结尾简要介绍了音调在历史中的表现。音调的概念（也是人们讨论的“调”，“音”，“韵”）最终源于音乐中的文字，这很关键，而且这也经常是中文潜台词的一部分。即使它作为一个隐喻，在应用于中文书写时，它必须消除声音的声学品质，但语气仍与声音中或类似声音的事物保持联系，强调客观，口头，非正式和情感方面的品质，而这并不是声音的一部分。理性的阐释过程，这就是杂文的“诗”。音调在围绕和组成写作的众多社交活动中发挥着作用。它出现在音乐人物中，成为最有影响力的文学和诗歌理论中的中心隐喻。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:32, 13 December 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
For example, spoiled music can signal a larger or more abstract disturbance; in the classic novel Dream of the Red Chamber a heroine breaks a string on a instrument and sees her impending death; in a well known folk story a high ranking official Yu Boya hits a sour note and knows that a potential assassin is lurking in the woods, listening.  Music figures centrally in the Confucian Great Preface to the Book of Odes:&lt;br /&gt;
&lt;br /&gt;
The affections emerge in sounds; when those sounds have patterning they are called “tones” [音] The tones of a well-managed aged are at rest and happy; its government is balanced.  The tones of an age of turmoil are bitter and full of anger; its government is perverse.  The tones of a ruined state are filled with lament and brooding; its people are in difficulty (Translated in Owen).&lt;br /&gt;
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例如，被破坏的音乐能预示更大或更抽象的不安。在经典小说《红楼梦》中，女主人公弄断了乐器上的一根弦，看到了自己即将到来的死亡。在一个广为人知的民间故事中，高官俞伯牙拨弄出了一个尖锐的音符，便知道有一个刺客正潜伏在树林里。音乐在儒家的《诗经大序》中占有核心地位。&lt;br /&gt;
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情感显现在声音里，当这些声音有了图式，就叫 &amp;quot;音&amp;quot;。在太平盛世里，音调是安然而欢快的，政通人和。在动荡年代里，音调是苦涩而充满愤怒的，政府是不作为的。破国的音调充满了哀叹和忧郁，人民处于水深火热之中（欧文译）。&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201207_cult&amp;diff=111366</id>
		<title>20201207 cult</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201207_cult&amp;diff=111366"/>
		<updated>2020-12-13T10:09:10Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Alsied, Saffana==&lt;br /&gt;
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==Cao Runxin 曹润鑫==&lt;br /&gt;
1.6世纪，佛教从中国经朝鲜传入日本，此后一直成为日本的主要宗教。&lt;br /&gt;
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Buddhism was introduced to Japan from China via Korea in the 6th century and has been the main religion of Japan ever since.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:09, 13 December 2020 (UTC)&lt;br /&gt;
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2.近代中国学者多数认为：道家与道教是两个既相互联系又有区别的概念。&lt;br /&gt;
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Most modern Chinese scholars believe that Taoism and Daoism are two concepts that are both interrelated and distinct.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:09, 13 December 2020 (UTC)&lt;br /&gt;
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3.穆罕默德在早期的宣教中，告诫人们放弃多神信仰和偶像崇拜，宣称真主是宇宙万物的创造者，是唯一的主宰，要求人们信奉独一无二的真主。&lt;br /&gt;
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In his early preaching, Muhammad admonished people to abandon polytheism and idolatry, proclaimed that God is the creator of all things in the universe and the only Lord, and asked people to believe in the one and only God.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:09, 13 December 2020 (UTC)&lt;br /&gt;
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4.上帝的创造以及人作为上帝的形象：世界是上帝创造的，上帝照着自己的形象造人。&lt;br /&gt;
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God's creation and man as the image of God: The world was created by God, and God made man in His own image.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:04, 13 December 2020 (UTC)&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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1.佛教解释了生命的真相，它对世上种种不公正以及不平等现象（人生的痛苦）作出了解释，并提供了修行解脱的道路，使人走向真正的幸福。&lt;br /&gt;
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Buddhism explains the truth of life, as well as all the injustices and inequalities (the pain of life) around the world. And it provides paths for people to spiritual liberation, which leads them to true happiness. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC) &lt;br /&gt;
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2.道教理论的最普遍图形表示就是阴和阳循环的圆形图像，它代表了宇宙中相反事物的平衡关系，当它们都平等地呈现出来，所有的一切都会平静。当其中一个超过另一个的时候，就会出现混淆。&lt;br /&gt;
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The most common image of Taoist theology is the circular ''yin''-''yang'' figure which represents the balance of opposites in the universe. When they are equally presented, all is in a tranquil state. When one is outweighed by the other, there are confusion and disarray. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教认为《古兰经》是“神圣的语言”，是伊斯兰教信仰和教义的最高准则，是伊斯兰教法的渊源和立法的首要依据，是穆斯林道德行为的重要准绳，也是伊斯兰教各学科和各派别学说赖以建立的理论基础。&lt;br /&gt;
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Islam believes that ''The Koran'' is the supreme principle of its belief and doctrine, the origin of Islamic law and the primary basis for legislation. It is an important criterion for Muslims' moral behavior, and is also the theoretical foundation on which various disciplines and sects of Islam rely. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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4.原罪思想，使得治理国家的办法应依托于制度，依托于法律，实现了从“人治”到“法治”的飞跃，不仅如此，赎罪的观念，引起了资本主义精神的产生，推动了西方资本主义的发展。&lt;br /&gt;
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The thoughts of original sin made the way of governing the country rely on the system and the law, achieving a leap from &amp;quot;rule of man&amp;quot; to &amp;quot;rule of law&amp;quot;. In addition, the concept of atonement gave rise to the spirit of capitalism and promoted the development of Western capitalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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1.佛陀涅槃后，弟子们奉行四谛，八正道等基本教义，在教团生活中维持着他在世时的惯例。&lt;br /&gt;
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After the Buddha’s nirvana, his disciplines followed the basic doctrines of the Four Noble Truths and the Eight-fold Noble Way so as to maintain the conventions of his lifetime. &lt;br /&gt;
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2.道教主张以清静无为，不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼。&lt;br /&gt;
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Taoism claims that we should let things take their own course and keep ourselves from desires in the secular life, and dominate our own destiny in the process of practicing austerities.&lt;br /&gt;
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3.各氏族部落各据一方，逐水草而居，彼此之间经常为争夺牧场，水源，土地而发生战争。&lt;br /&gt;
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The clans occupy various areas by the water and grass, but will frequently launch wars for pasture, water and land. &lt;br /&gt;
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4.神爱世人，甚至将他的独生子（耶稣基督）赐给他们，叫一切信他的，不至灭亡，反得永生。&lt;br /&gt;
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God loves people so much that he even bestows his only son-Jesus Christ to them and whoever believes in him will not perish but instead have a eternal life.&lt;br /&gt;
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==Dashkin, Gennadii==&lt;br /&gt;
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1. One significant difference between Chinese Buddhism and original Buddhist teachings is the belief that Buddha is not just a teacher who taught followers what to do, but a god to be prayed to for help and salvation. &lt;br /&gt;
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中国佛教与原始佛教教义之间的一个重要区别是，人们相信佛陀不仅是向跟随者传教如何做的老师，而且是向上帝祈祷以寻求帮助和救赎的老师。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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2. At Taoist temples, people may worship Taoist idols that represent a historical figure, an immortal, or a folk god. &lt;br /&gt;
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在道观中，人们可能会崇拜代表历史人物，神仙或民间神灵的道教神像。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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3. In 1910, it was estimated that Muslims made up about 1 or 2 percent of the population of China (about 7 million people).&lt;br /&gt;
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据估计，在1910年，穆斯林约占中国人口的1-2％（约700万人）--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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4. Chinese Christians must believe that a man born thousands of years ago and thousands of kilometers away to an unknown alien people was the Son of God. &lt;br /&gt;
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中国基督徒必须相信，一个千百年前出生在千里之外与一个陌生的外星人相伴的人是上帝的儿子。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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1.“阿弥陀佛”是一个梵语词，字面意思为无限的光和无限的生命。他是极乐世界里的佛，在极乐世界里，众生都享受着无限的幸福。&lt;br /&gt;
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“Amitabha” is a Sanskrit word literally meaning boundless light and boundless life. He is the Buddha in the Land of Ultimate Bliss, in which all beings enjoy unbound happiness.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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2. 万物负阴而抱阳，冲气以为和。&lt;br /&gt;
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The created universe carries the yin at its back and the yang in front, through the union of the pervading principles it reaches harmony.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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3. 截止到2009年底，世界人口约68亿人口中,穆斯林总人数是15.7亿,分布在204个国家和地区，占全世界的23%。&lt;br /&gt;
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By the end of 2009, of the world's population of about 6.8 billion, the total number of Muslims was 1.57 billion, distributed in 204 countries and regions, accounting for 23% of the world's total population.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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4. 耶稣，又名耶稣基督，是基督教的中心人物，被大多数基督教会尊为上帝的儿子和上帝的化身。&lt;br /&gt;
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Jesus, known as Jesus Christ, is the central figure of Christianity and is revered by most Christian churches as the Son of God and the incarnation of God. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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1. “Amitabha” is a Sanskrit word, literally meaning endless light and forever life. He is the Buddha in the Land of Ultimate Bliss, in which all beings enjoy unbound happiness.&lt;br /&gt;
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2. The created universe carries the yin at its back and the yang in front, through the union of the pervading principles it reaches harmony.&lt;br /&gt;
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3. By the end of 2009, the world’s population was about 6.8 billion, of which the total number of Muslims was 1.57 billion, in 204 countries and regions, accounting for 23% of the world’s population.&lt;br /&gt;
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4. Jesus, known as Jesus Christ, is the central figure of Christianity, revered by most Christian churches as the Son of God and the incarnation of God. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:42, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
1. 佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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After Buddhism spreading to every region, because of the influence of local society, politics and culture, its form and content have changed accordingly and formed many sects.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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2. 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only religion originated in China and founded by the Chinese, so it is also called native religion. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The Islam is from the religion of a single ethnic group in the Arab region to the religion of multi-ethnic belief in the world, and it is the result of the wide spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, and sending missionaries to all parts of the world.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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4.早期基督教神学家通过发挥基督教的基本教义，依托当时流行的哲学载体，构造出更加复杂的教义体系。&lt;br /&gt;
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Early Christian theologians constructed a more complex doctrine system by giving full play to the basic teachings of Christianity and relying on the popular philosophical carriers at that time. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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1、佛教中常说的烦恼，就从妄想中来。妄想爱情美好，妄想荣华富贵，妄想健康长寿，当达不到这些标准的时候，烦恼就来了。&lt;br /&gt;
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Buddhism says that people's worries come from their desires such as the desire for beautiful love, money, health and longevity. If they cannot reach their desires, worries come.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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2、老子以「道」作为最初本源和内在支配者，认为世间万物存在着互联、互动的密切关系。&lt;br /&gt;
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Lao zi suggests that Tao is the original source and inner ruler, and everything in the world has close interconnection and interaction with each other.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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3、伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响。&lt;br /&gt;
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Islam boasts a long history of more than 1400 years so far. As a religion, ideology and cultural system, it has made influences to different extends on the social development, political structure, economic form, culture, ethic and life style of many countries as well as nations at different stages through the mutual influence and integration with local cultures after it was spread worldwide. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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4、圣经又分为两部分:《旧约》和《新约》，《旧约》与《新约》以耶稣出生为界限划分，前者主要侧重于对犹太民族历史的讲述以及犹太人对于其真神的讲述。&lt;br /&gt;
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The Bible has two part:&amp;quot;The Old Testament&amp;quot;, &amp;quot;The New Testament&amp;quot;, which was divided by the birth of Jesus. The former emphasizes on telling the history of Jewish people and their talks about the true god.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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==Grosheva, Anna==&lt;br /&gt;
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1. Mahayana Buddhism was originally founded during the Kushan Empire and spread to China where various school sects were developed; before spreading further and becoming popular in other Asian countries like Japan. &lt;br /&gt;
大乘佛教最初是在库山帝国时期建立的，并传播到发展了各种学派的中国。 在进一步传播并在日本等其他亚洲国家流行之前。 --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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2. Taoism is basically a term for China’s indigenous philosophies and religious beliefs, and as defined this way, it has always been China’s main religion that colors all the others. &lt;br /&gt;
道教从根本上说是中国本土哲学和宗教信仰的术语，按照这种定义，道教一直是中国的主要宗教，为所有其他宗教增色。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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3. Thus less than 20 years after the death of the prophet, Islam was officially introduced and started to become established as a new religion and culture in China. &lt;br /&gt;
因此，在先知死后不到20年的时间里，伊斯兰教就被正式引入并开始在中国确立为一种新的宗教和文化。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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4. Unlike other Chinese religious adherents, Christians in China become Christians by the change of faith and not by birth. &lt;br /&gt;
与其他中国宗教信奉者不同，中国的基督徒通过改变信仰而不是出生而成为基督徒。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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==Guirou, Barthelemy==&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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1.禅宗主张因材施教。它除了要对信徒给予面对面的传教说法之外，还要通过一些动作以及手势来教导信徒。这些特点都让禅宗能够避免走进教条主义以及形式主义等不好的方向，也因此能够长久地在民间得到发展和深入。&lt;br /&gt;
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Zen Buddhism prefers teaching people according to his or her ability. In addition to giving face-to-face instruction to its adherents, it also teaches through gestures. All these characteristics have enabled Zen to avoid going in the wrong direction of dogmatism and formalism, so as to develop and deepen its popularity in the long run.&lt;br /&gt;
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Zen Buddhism advocates teaching according to the ability of the student. In addition to giving face-to-face instruction, it also teaches through gestures and gestures to its followers. These characteristics allow Zen to avoid going in the bad direction of dogmatism and formalism, and thus to develop and deepen its popularity in the long run.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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2.道教理论的最普遍图形表示就是阴和阳循环的圆形图像。它代表了宇宙中相反事物的平衡关系。当它们都平等地呈现出来，所有一切都会平静。当其中一个超过另一个的时候，就会出现混淆和混乱。阴和阳是信徒追随的原型，有助于让个人去凝视他或她的生命状态。&lt;br /&gt;
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The most common graphic representation of Taoist theology is the circular Yin Yang figure. It represents the balance of opposites in the universe. When they are equally present, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are a model that the faithful follow, an aid that allows each person to contemplate the state of his or her lives.&lt;br /&gt;
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The most universal graphic representation of Taoist theory is the circular image of the yin and yang cycles. It represents the balance of opposite things in the universe. When they are all equally represented, all is calm. When one outweighs the other, there is confusion and chaos. The yin and the yang are archetypes followed by the devotee, helping the individual to gaze at his or her life state.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是世界三大宗教之一，伊斯兰教世界的国家遍布亚、非两个大洲，总体算来也有大约五十个。此外，在各大洲很多国家里都有信仰伊斯兰教的人民（穆斯林）。这些国家包括一些西方国家诸如英、美、俄、法、德等国家。&lt;br /&gt;
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Islam is one of the three major religions in the world, it covers Asia and Africa with about fifty Islamic countries. In addition, there are many countries in the world that have people who believe in Islam (Muslim). These countries include some western countries, such as the UK, the US, Russia, France and Germany.&lt;br /&gt;
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Islam is one of the three major religions of the world, and the countries of the Islamic world are spread over two continents, Asia and Africa, and there are about fifty countries in total. In addition, Islam is practiced by people (Muslims) in many countries on all continents. These countries include some Western countries such as the United Kingdom, the United States, Russia, France, and Germany.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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4.基督教对西方文明产生了非常大的影响。自由、平等、博爱为中心的人文主义传统，使得“生而平等”观点深入人心，成为《独立宣言》《人权宣言》 中的核心，成为后来西方民主政治的- -种长远的精神推动力。&lt;br /&gt;
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Christianity had a profound impact on Western civilization. Its humanist tradition, which focused on freedom，equality and fraternity, made the idea of &amp;quot;born equal&amp;quot; popular in the world. It not only became the core of &amp;quot;Declaration of Independence&amp;quot; and &amp;quot;Declaration of Human Rights&amp;quot;，but also a long-term spiritual driving force of the Western democracy.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:47, 9 December 2020 (UTC)&lt;br /&gt;
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Christianity has had a great influence on Western civilization. The humanist tradition centered on freedom, equality, and fraternity made the idea of &amp;quot;all men are created equal&amp;quot; deeply rooted in people's hearts, and became the core of the Declaration of Independence and the Declaration of Human Rights, as well as the long-term spiritual impetus for Western democratic politics.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Ha, Thi Thu Hang==&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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1.公元前6世纪至前5世纪，释迦牟尼于古印度创建佛教。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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From the 6th century BC to the 5th century BC, Sakyamuni founded Buddhism in ancient India. Since then, it has been widely spread in Asia and all over the world, and has had a significant impact on the social, political and cultural life of many countries.&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion. Taoism had a profound impact on the politics, economy and culture of ancient China, and was one of the three spiritual pillars of the ruling class.&lt;br /&gt;
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3.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。信奉伊斯兰教的人统称为“穆斯林”(意为“顺从者”)。7世纪初兴起于阿拉伯半岛，由麦加人穆罕默德(约570—632)创传。主要传播于亚洲、非洲，以西亚、北非、中亚、南亚次大陆和东南亚最为盛行。&lt;br /&gt;
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Islam, together with Buddhism and Christianity, is one of the world's three religions. People who believe in Islam are collectively referred to as &amp;quot;Muslims&amp;quot; (meaning &amp;quot;followers&amp;quot;). It originated in the Arabian Peninsula in the early 7th century and was created by Muhammad (570-632) of Mecca. It mainly spreads in Asia and Africa, especially in West Asia, North Africa, Central Asia, South Asian subcontinent and Southeast Asia.&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。很多神学家的著作也是阐发基督教基本教义的宝贵资源。&lt;br /&gt;
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Christianity generally believes that its basic doctrines are derived from the Bible. The church in history has made a lot of concise summary of the basic doctrines of Christianity in various forms, such as creed, creed and epistemology, which is also regarded as the source of doctrine by scholars who study dogmatics today. In addition, the theologians of all ages tried to explain and distinguish the Christian faith principle according to the concept of their times. The works of many theologians are also valuable resources for elucidating the basic tenets of Christianity.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:06, 13 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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1. 道教理论的最普遍图形表示就是阴和阳循环的圆形图像。它代表了宇宙中相反事物的平衡关系。当它们都平等地呈现出来。所有一切都会平静。当其中一个超过另一个的时候，就会出现混淆和混乱。阴和阳是信徒追随的原型，有助于让一个人去凝视他或她的生命状态。&lt;br /&gt;
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1. The most common graphic representation of Taoist theology is the circular Yin Yang figure. It represents the balance of opposites in the universe. When they are equally present, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are a model that the faithfull follow, an aid that allows each person to contemplate the state of his or her lives.&lt;br /&gt;
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1. The most common graphic representation of Taoist theology is the circular image of the Yin and Yang. It represents the balance of opposites in the universe. When they are equally presented, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are the archetypes followed by  disciple, helping each person to contemplate the state of his or her lives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:59, 11 December 2020 (UTC)&lt;br /&gt;
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2. 佛教与基督教、伊斯兰教并称的世界三大宗教之一。公元前6世纪至前5世纪，释迦牟尼创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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2. Buddhism, together with Christianity and Islam, is one of the three major religions in the world. Sakyamuni founded it in ancient India from the 6th century BC to the 5th century BC. After that, it was widely spread in Asia and all over the world, and had a great influence on the social, political and cultural life of many countries.&lt;br /&gt;
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2. 佛教是与基督教、伊斯兰教并称的世界三大宗教之一。在公元前6世纪至前5世纪由释迦牟尼创建于古印度，之后广泛传播于亚洲及世界各地，对许多国家的社会、政治和文化生活产生过重大影响。&lt;br /&gt;
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Buddhism, enjoying equal popularity with Christianity and Islam, is one of the three major religions in the world. Sakyamuni founded it in ancient India from the 6th century BC to the 5th century BC. After that, it was widely spread in Asia and all over the world, making a great impact  on the social, political and cultural life of many countries.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 13:12, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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2. Buddhism, together with Christianity and Islam, is one of the three major religions in the world. It was founded by Sakyamuni in ancient India from the 6th century BC to the 5th century BC and later widely spreaded in Asia and all over the world, having a great influence on the social, political and cultural life of many countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:59, 11 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰教的名字来源于阿拉伯语的音译。它的本义是服从，它的信徒叫穆斯林。伊斯兰教成立于7世纪初，是世界三大宗教之一。&lt;br /&gt;
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3. The name of Islam derives from the transliteration in Arabic. Its original meaning is obedience, and its believers are called muslem. Islamism was established at the beginning of the 7th century and ranked one of three major religions in the world. &lt;br /&gt;
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The word Islam is a transliteration of an Arabic word. Its essence is obedience, and its followers are called Muslims. Founded in the early 7th century, Islam is one of the three major religions in the world. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:38, 9 December 2020 (UTC)&lt;br /&gt;
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4. 基督教是亚伯拉罕的一神论宗教，以耶稣基督的生活和教义为基础，如新约中所述。基督教是世界上最大的宗教，有超过24亿信徒，被称为基督徒。基督徒相信耶稣是上帝的儿子，是人类的救世主，他作为基督或弥赛亚的到来在旧约中被预言。&lt;br /&gt;
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4. Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus Christ as presented in the New Testament. Christianity is the world's largest religion, with over 2.4 billion adherents, known as Christians. Christians believe that Jesus is the Son of God and the savior of humanity whose coming as Christ or the Messiah was prophesied in the Old Testament.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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印度佛教最初传入中国，因文化背景全然不同，故被视为与当时流行的黄老神仙方术同类，仅通行於少数的王公贵族之间。&lt;br /&gt;
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Because of different cultural background, the Indian Buddhism was considered to be similar to the Huanglao in China, consequently only popular among a small number of nobles.&lt;br /&gt;
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 When Indian Buddhism was first introduced into China, because of its different cultural background, it was regarded as the same as Huang Lao, which was popular at that time, and only popular among a small number of nobles.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:10, 13 December 2020 (UTC)&lt;br /&gt;
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新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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After the founding of the Republic of China, through the democratic reform of the religious system, the Taoism gained a new life and gradually embarked on a path adapting to the socialist society. Since the reform and opening up, under the guidance of the Party and government's religious policies in the new era, Taoism has taken on an unprecedented new look, making positive contributions to the economic development, social harmony, the unification of China and the world peace.&lt;br /&gt;
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伊斯兰教反对偶像崇拜，所以清真寺内没有任何由人形和动物形组成的偶像图案。寺内装饰大多以阿拉伯文、几何图纹和花卉画纹组成抽象图案为主。&lt;br /&gt;
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Islam is against idol worship, so there are no idol motifs consisting of human or animal shapes in the mosques, most of which are decorated with abstract designs consisting of Arabic, geometric patterns and floral paintings.&lt;br /&gt;
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由于新教（反对教）教义强调只能信上帝，不能拜其他偶像，因此与&amp;quot;祭奠祖先&amp;quot;等很多中国传统习俗产生了很大抵触，使得基督教之前在中国一直没有得到很好的传播和发展，直到后来来中国传教的刚恒毅（1876年－1958年）与雷鸣远神父解释中国人祭祖敬孔礼并不违背教会的信仰，中国人这么地做是为了向已亡的父母和祖先表达尊敬。教宗碧岳十二世因而在1939年12月8日删除了祭祖敬孔的禁令，才解决了这一问题。然而，新教一直也不接受中国人拜祖先。&lt;br /&gt;
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There was a great conflict between Christianity and many traditional Chinese customs such as &amp;quot;ancestor worship&amp;quot;, for the Protestant demands that only God can be believed in and no other idols can be worshipped, so Christianity did not spread and develop well in China until later when the missionary Gang Hengyi (1876-1958) and the priest Lei Mingyuan explained to the Chinese that the ritual of the Confession of Confucius is not contrary to the beliefs of the Church because it is done by the Chinese to show respect to their late parents and ancestors. Pope Pius XII therefore solved the problem by removing the ban on ancestor worship on December 8, 1939. However, Chinese ancestor worship has always been unacceptable to Protestants.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 13:52, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
1.禅宗主张心性本净，佛性本有，觉悟不假外求，舍离文字义解，直彻心源。&lt;br /&gt;
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Zen advocates that the mind and nature are pure, the Buddha's nature is original, enlightenment is achieved by oneself, and the interpretation of words is left, leading to the heart.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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2. 道教以道为最高信仰，把《道德经》奉为经典，尊道贵德。认为道是产生天地万物的本源，宇宙、阴阳和万象万物都是由道化生的。德即“得”，道体现在人和万物中即是德。人和万物都是由道生由德育，所以应尊道贵德。&lt;br /&gt;
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Taoism takes Tao as its highest belief, regards the Tao Te Ching as a classic, and respects the virtue of Taoism. It is believed that Tao is the origin of everything in heaven and earth, and everything in the universe, yin and yang is transformed by Tao. Tao means &amp;quot;getting&amp;quot;, and morality is embodied in man and all things. People and all things are born by Tao and moral education, so we should respect Tao and noble virtue.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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3. 《古兰经》是伊斯兰教唯一的根本经典。&lt;br /&gt;
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The Koran is the only fundamental classic of Islam.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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4. 后人为纪念耶稣的诞生，便定十二月二十五为圣诞节，年年望弥撒，纪念耶稣的出世。&lt;br /&gt;
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Later generations, in order to commemorate the birth of Jesus, set December 25th as Christmas, and observed Mass every year to commemorate the birth of Jesus.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
1.佛教自汉代传入中国,并逐渐与儒道并行互融,成为中国文化有机而重要的组成部分,对中国文化的影响至深至远。&lt;br /&gt;
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Since its introduction to China in the Han Dynasty, Buddhism has gradually become an organic and important part of Chinese culture in parallel with Confucianism and Taoism, and has had a profound and far-reaching impact on Chinese culture.&lt;br /&gt;
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2.道教文化体现着中国人的哲学思维、认知观念、价值取向、 审美情趣，正如鲁迅先生所说，每一个中国人在意识深处都是一个道教徒。&lt;br /&gt;
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Taoist culture embodies the philosophical thinking, cognitive concepts, values, and aesthetic interests of the Chinese people, and as Mr. Lu Xun said, every Chinese person is a Taoist deep in his or her consciousness.&lt;br /&gt;
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3.新疆伊斯兰教作为中国的宗教,坚持中国化方向,进行中国化改造是历史必然,符合客观规律。&lt;br /&gt;
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As a Chinese religion, it is historically inevitable for Xinjiang Islam to adhere to the direction of Chineseness and undergo Chineseness transformation, which is in line with objective laws.&lt;br /&gt;
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4.自唐代传入中国以来,基督教在华传播的历程伴随着问题与挑战,在很长的历史时期中基督教与中国既有的哲学、宗教与伦理体系(包括儒家思想、道教、中国佛教以及鬼神和祖先崇拜的&amp;quot;中国民间宗教&amp;quot;)互动,同时通过适应和文化融入的方式努力将自身&amp;quot;本土化&amp;quot;与&amp;quot;中国化&amp;quot;。&lt;br /&gt;
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Since its introduction to China in the Tang Dynasty, the spread of Christianity in China has been accompanied by problems and challenges, and over a long historical period Christianity has interacted with China's established philosophical, religious, and ethical systems (including Confucianism, Taoism, Chinese Buddhism, and the &amp;quot;Chinese folk religions&amp;quot; of ghosts, gods, and ancestor worship) while trying to &amp;quot;localize&amp;quot; and &amp;quot;sinicize&amp;quot; itself through adaptation and cultural integration.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:22, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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1、三大宗教中，以基督教人数最多，伊斯兰教次之，佛教最后，虽然人数各有不同，但是各个宗教的信徒都是平等的。虽说是三大宗教，但三大宗教提倡和平共处，可以相互交流文化。慈悲，博爱，和平，是这三大宗教的真谛。同时这也是所有宗教的共同目标。&lt;br /&gt;
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Among the three major religions, Christianity has the largest number of people, followed by Islam and Buddhism last. Although the number of people varies, the followers of each religion are equal.Despite they are the three major religions, but they promote peaceful coexistence and mutual cultural exchange. Compassion, love and peace are the true meaning of these three religions. This is also the common goal of all religions.&lt;br /&gt;
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In terms of the number of believer, Christianity ranks the first, followed by Islam and Buddhism the last. Varied in number, the followers of each religion are equal. Despite of different beliefs, the three major religions called for  peaceful coexistence and mutual cultural exchanges. Compassion, love and peace are the essence and common goal of these three religions. --[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 16:12, 11 December 2020 (UTC)&lt;br /&gt;
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2、约在公历纪元前后，佛教传入中国。在汉代被视为神仙方术的一种。至南北朝时传播于全国，出现了很多学派。隋唐时期进入鼎盛阶段，形成了很多具有中国民族特点的宗派。&lt;br /&gt;
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Buddhism was introduced into China around the time of the Gregorian calendar. During the Han Dynasty, it was regarded as a form of divine magic. By the time of the Northern and Southern Dynasties, it spread throughout the country and many schools of thought emerged. During the Sui and Tang dynasties, it reached its peak and many sects with Chinese national characteristics were formed.&lt;br /&gt;
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3、在基督教早期阶段，教会曾实行财产共有，外界视其为一种秘密性的宗教组织。犹太人视教会为离经判道的异端，常常向罗马当局控告他们。&lt;br /&gt;
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In the early stages of Christianity, the Church was a community of shared property and was seen by others as a secret religious organization. The Jews regarded the church as a deviant heresy and often brought charges against them to the Roman authorities.&lt;br /&gt;
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4、伊斯兰教要求人们信仰真主并服从真主，从心灵深处信仰真主的存在和伟大，同时要求在行为上要表现出顺从真主的意志，力行一定的功修，把信仰和行为的实践联合起来，达到增强信仰、巩固信仰的目的。&lt;br /&gt;
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Islam requires people to believe in God and obey Him, to believe in His existence and greatness from the depths of their hearts, and to demonstrate obedience to His will in their actions, to perform certain practices, and to unite their faith with the practice of their actions in order to strengthen their faith and consolidate it.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:08, 11 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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Islam requires people to believe in Allah and obey Him, to believe in His existence and greatness from the depths of their hearts, and to demonstrate obedience to His will in their actions, to perform certain practices, and to unite their faith with the practice of their actions in order to strengthen and consolidate their faith.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 16:12, 11 December 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
1．中国佛教译经事业的历时久远，可说是世界文化史上首屈一指的大业，而所译经论卷帙的庞复，诚为世界文化的瑰宝。&lt;br /&gt;
Chinese Buddhism's translation with a long history can be said to be one of the greatest undertakings in the history of world culture, and the vast number of translated scriptures is truly a treasure of world culture.&lt;br /&gt;
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Chinese Buddhist scripture translation has a long history, and it can be said to be a major cause in the history of world culture. The Pangfu of the translated scriptures is truly a treasure of world culture. --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:14, 12 December 2020 (UTC)&lt;br /&gt;
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2．新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
After the founding of People’s Republic of China, through the democratic reform of the religious system, Chinese Taoism was reborn and gradually made its way in line with the socialist society. Since the reform and opening up, under the guidance of the Party’s and government's new religious policy, Chinese Taoism has taken on an unprecedented new look, and thus has made a positive contribution to promoting economic development, social harmony, the unification of China, and world peace.&lt;br /&gt;
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3．基督教文化是属于扩张型的，其哲学观念认为时间是有始有终的，而空间是无限可重复的，所以欧洲人最早猜测出地球是圆的。&lt;br /&gt;
Christian culture is expansive, and its philosophy holds that time has a beginning and an end, while space is infinitely repeatable, so Europeans first guessed that the earth is round.&lt;br /&gt;
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4．伊斯兰教的形成是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
The Islam came from its wide spread in Arab countries through expansion, trade, cultural exchange, sending missionaries to the world and other means.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:40, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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The formation of Islam is the result of the widespread dissemination of Arab Islamic countries through various channels such as continuous external expansion, business exchanges, cultural exchanges, and sending missionaries to all over the world.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:14, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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1. 佛教僧侣并不扮演牧师的角色——他们并非人神的中介——其律例也不诉诸超自然的力量或权威。其次，简化物质，佛教认为对物质的执着是造成痛苦的根源，因为没有什么是永恒的。&lt;br /&gt;
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Buddhist monks have no priestly role--they are not intermediaries between God and mankind--and their ordination confers no supernatural powers or authority. In addition, to simplify it, Buddhists believe that attachment- the clinging onto objects- is what causes suffering because nothing will last forever. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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Buddhist monks have no priestly role--they are not intermediaries between God and mankind--and their ordination confers no supernatural powers or authority. In addition, Buddihism also simplify substance. It regards clinging onto objects as the causes suffering because nothing will last forever.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:06, 11 December 2020 (UTC)&lt;br /&gt;
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2. 作为早期道教的重要经典，《太平经》蕴含着丰富的美学思想，对后世道教美学产生过深远影响。《太平经》不仅记载了我国古代最早的道教音乐理论，而且对乐律与人的身心健康的关系给予了相当的重视。&lt;br /&gt;
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As an important classic of early Taoism, Scripture of the Great Peace reserves plenty of aesthetic thoughts and had profoundly influenced the Taoist aesthetics. Scripture of the Great Peace not only records the earliest Taoist musical theories of our ancient country, but also attaches importance to the relation between music and physical and psychological health .--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰系阿拉伯语音译，愿意为“顺从”“和平”。信奉伊斯兰教的人统称为“穆斯林”。伊斯兰教至今已有1400多年的历史，它传入世界各地后，对许多国家和民族的社会发展、政治结构、经济形态等都产生了不同程度的影响。&lt;br /&gt;
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Islam is an Arabic word meaning “obedience ”and “peace”. People who believe in it are called “Muslims”. Islam has a history of more than 1400 years. After its introduction to other parts of the world, it has posed varying degrees of influence on the social development, political structure, economic form and others. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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4. 在西方天主教的传统中，白色代表喜庆，其他地区，白色在婚礼和葬礼上代表了不同的意义。 《圣经》是天主教徒奉为圣言的经典、必读之书。它不仅是一部宗教经典，也是世界文化和知识宝库的一部杰作。&lt;br /&gt;
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According to Catholic tradition in the West, white represents happiness; in other areas, white embodied different significance at weddings and funerals. The Bible is a classic and required reading for Catholics. It is more than a religious classic, but also a masterpiece of the world’s culture and intellectual treasures. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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According to Catholic tradition in the West, white represents happiness, while in other areas, it embodied different significance at weddings and funerals. The Bible is a classic and required book for Catholics. It is more than a religious classic, but also a masterpiece of the world’s culture and intellectual treasures.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:06, 11 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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1.佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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Due to local social, political, and cultural influences, the form and content of Buddhism will change accordingly when spread to every region, resulting in the formation of many sects.&lt;br /&gt;
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After its spreading to other regions, forms and contents saw changes and various sects were formed. The reason is that Buddhism was influenced by different local social, political and cultural environments. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:48, 9 December 2020 (UTC)&lt;br /&gt;
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2.新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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After the founding of People’s Republic of China, Chinese Taoism was reborn through democratic reforms of religious system, and gradually embarked on a path compatible with the socialist society. Since the reform and opening up, Chinese Taoism has taken on an unprecedented new look thanks to religious policies carried out by Chinese Communist Party and the government, which has made positive contributions to promoting economic development, social harmony, national reunification and world peace.&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam has developed from a single -ethnic religion in Arab region to a multi-ethnic one in the world,which is a result of the wide spread of Islam of Islamic states in Arab in many ways, such as continuous expansion, trade and cultural exchange and the dispatch of missionaries all over the world.&lt;br /&gt;
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Islam has developed from a exclusive religion in Arab region to a multi-ethnic one in the world,which is a result of efforts from Islam of Islamic states in Arab in many ways, from continuous expansion, trade and cultural exchange to the dispatch of missionaries all over the world.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 10:25, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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4.历史上的教会以信经、信条等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，神学家们企图结合其时代的观念阐释和辨明基督教的信仰要理。&lt;br /&gt;
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The churches in history have provided many concise summaries of the basic doctrine of Christianity in the form of creed, tenet, etc., which are considered the origin of doctrine by today's scholars of dogmatics.What’s more, theologians have attempted to elucidate and discern the essentials of the belief in Christianity combing with the concepts of their time.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:34, 9 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
1、创始人释迦牟尼生于今尼泊尔境内的蓝毗尼，是释迦族的一个王子。关于他的生卒年，在南、北传佛教中，至今仍有种种不同的说法，一般认为生于公元前6至前5世纪间。他在青少年时即感到人世变幻无常，深思解脱人生苦难之道。29岁出家修行。得道成佛。&lt;br /&gt;
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The founder, Sakyamuni, was born in Lumbini in present-day Nepal and was a prince of the Sakya tribe. There are still different theories about his birth and death dates in Northern and Southern Buddhism, but it is generally believed that he was born between the 6th and 5th centuries BC. At the age of 29, he became a monk and practiced Buddhism. He became a monk and became a Buddha.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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The founder, Sakyamuni, was born in Lumbini in present-day Nepal and was a prince of the Sakya tribe. There are still different theories about his birth and death dates in Northern and Southern Buddhism, but it is generally believed that he was born between the 6th and 5th centuries BC. At the age of 29, he became a monk and practiced Buddhism. --[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)&lt;br /&gt;
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2、解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。&lt;br /&gt;
新中国成立后，广大道教徒拥护社会主义制度，拥护共产党的领导。&lt;br /&gt;
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Before the liberation of the People's Republic of China (PRC), Taoism was full of feudalism. It was a major task for Taoists in the new PRC to educate themselves about patriotism, reform the feudal economy of the palaces, abolish the feudal remnants of Taoism, and clear the boundaries with the reactionary Taoists.&lt;br /&gt;
Since the founding of New China, the majority of Taoists have embraced the socialist system and the leadership of the Communist Party.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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Before the liberation of the People's Republic of China (PRC), Taoism was full of feudalism. It was a major task for Taoists in the new PRC to educate themselves about patriotism, reform the feudal economy of the palaces, abolish the feudal remnants of Taoism, and clear the boundaries with the reactionary Taoists.&lt;br /&gt;
After the founding of new China, the majority of Taoists have given support to the socialist system and the leadership of the Communist Party.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:52, 12 December 2020 (UTC)&lt;br /&gt;
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3、伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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Developing from a single ethnic religion in the Arab region, Islam finally became a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 9 December 2020 (UTC)&lt;br /&gt;
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The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, sending missionaries to all over the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)&lt;br /&gt;
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4、基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。&lt;br /&gt;
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Christianity is generally believed to derive its basic doctrines from the Bible. The historical church has provided many concise summaries of the basic doctrines of Christianity in the form of creeds, epistles, confessions, and other forms, which are also regarded as sources of doctrine by scholars of doctrine today. In addition, theologians throughout the ages have attempted to explain and discern the essentials of the Christian faith in light of the concepts of their time.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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Christianity generally believe that its basic doctrines derive from the Bible. The historical church has provided many concise summaries of the basic doctrines of Christianity in the form of creeds, epistles, confessions, and other forms, which are also regarded as sources of doctrine by scholars of doctrine today. In addition, theologians throughout the ages have attempted to explain and discern the essentials of the Christian faith in light of the concepts of their time.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
1. 隋唐佛教的兴盛繁荣，除得力於佛教本身在南北朝所奠定的稳固基础外，更有赖於国家的统一强盛及护持提倡。&lt;br /&gt;
The prosperity of Buddhism in the Sui and Tang dynasties not only resulted from the solid foundation of Buddhism in the Northern and Southern Dynasties, but also from the unification of the state and the promotion of its support.&lt;br /&gt;
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2. 建国前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。&lt;br /&gt;
The Taoism before 1949 was full of feudalism. It became a major task for Taoism in the new China to educate the Taoists on patriotism, abolish the feudal remnants in Taoism, and draw a clear line with the reactionary Taoism sects.&lt;br /&gt;
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3. 伊斯兰教反对偶像崇拜，所以清真寺内没有任何由人形和动物形组成的偶像图案。寺内装饰大多以阿拉伯文、几何图纹和花卉画纹组成抽象图案为主。&lt;br /&gt;
Islam is against idol worship. Therefore, the mosque does not have any idol pictures made of human and animal shape. Most of the mosques are ornamented with abstract designs featuring Arabic, geometric and floral patterns.&lt;br /&gt;
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4. 基督徒看重信徒间的交通。跟随基督是学效他的慈爱、公义与服侍人的榜样。要做到这些，必须在人际关系中具体表现出来；而这种机会得在教会中去找。&lt;br /&gt;
Christians attach importance to fellowship among believers. To follow Christ is to learn from his love, justice and service to others. And those believers should practice it  in human relationships; and such opportunities have to be found in the church.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 10:20, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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1.The prosperity of Buddhism in Sui and Tang Dynasties depends not only on the solid foundation laid by Buddhism itself in the Southern and Northern Dynasties, but also on the unity, prosperity and advocacy of the country.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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2.Before the founding of the People's Republic of China, Taoism was full of strong feudal atmosphere. It was an important task for Taoism in New China to carry out patriotic education for Taoist believers, abolish feudal remnants of Taoism and draw a clear line with reactionary sects.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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3.Islam opposes idolatry, so there are no idol patterns composed of human and animal in mosques. Most of the decorations in the temple are mainly abstract patterns composed of Arabic, geometric patterns and flower patterns.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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4.Christians value the communication between its believers. To follow Christ is to learn from his love, justice and service to others. To do this, we must practise it in interpersonal relationships; and this kind of opportunity has to be found in the church.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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==Lo, Minh Thao==&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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1.佛教创立后，在印度几经演变。佛陀及其直传弟子所宣扬的佛教，称为根本佛教。佛陀涅槃后，弟子们奉行四谛、八正道等基本教义，在教团生活中维持着他在世时的惯例。由于佛陀在世时于不同场合对不同的对象有着不同的说法，弟子们对此便产生不同的理解。&lt;br /&gt;
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After the foundation of Buddhism, it has experienced several changes in India. The Buddhism advocated by Buddha and his direct disciples is called fundamental Buddhism. After the nirvana of the Buddha, the disciples pursued the basic doctrines of the four truths and the eight righteous doctrines, and maintained the conventions of his lifetime in the life of groups. Because Buddha had different views on different objects in different situations, so the disciples had different understandings about it.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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2.新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。&lt;br /&gt;
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After the founding of the people's Republic of China, some unreasonable systems and bad habits of Taoism in the old society were reformed, making the Taoism take on a new look. The establishment of the Chinese Taoist Association has realized the great union of Taoists in China, and the majority of taoists who love the nation have begun to work together for the development of Taoism which has been affected by the Anti-Rightist Movement, the Great Leap Forward, the People's Commune and other political movements.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, sending missionaries to all over the world.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。&lt;br /&gt;
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Christianity generally believes that its basic doctrines are derived from the Bible. The church in history has made a lot of concise summary of the basic doctrines of Christianity in various forms, such as creed, creed and epistemology, which is also regarded as the source of doctrine by scholars who study dogmatics today.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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1.佛事仪式原是释迦时代所行的宗教活动，传到中国后演变为满足信众需求的经忏、佛事活动。主要有各种忏法、水陆法会、盂兰盆会、焰口等。&lt;br /&gt;
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The Buddhist ceremony was originally a religious activity in the Sakyamuni era. After it was introduced to China, it evolved into a Buddhist activity to meet the needs of believers. The main activities include repentance rituals, water and land assembly, Yulan ceremony, Yankou, etc.&lt;br /&gt;
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Buddhist rituals were originally religious activities practiced during the time of Sakya, but after their arrival in China, they evolved into sutra confessions and Buddhist rituals to meet the needs of the faithful. The main rituals include various confessions, water and land rituals, Bon rituals, and fireworks.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)&lt;br /&gt;
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2.后经魏晋南北朝数百年的改造发展，道教的经典教义、修持方术、科戒仪范渐趋完备，新兴道派滋生繁衍，并得到统治者的承认，演变为成熟的正统宗教。&lt;br /&gt;
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After hundreds of years of transformation and development in the Wei, Jin, Southern and Northern dynasties, the classic doctrines, practicing methods, discipline and etiquette of Taoism became more and more complete, and the new Taoism school emerged and prospered, which was recognized by the rulers, and evolved into a mature orthodox religion.&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, and the dispatch of  missionaries to all over the world.&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)&lt;br /&gt;
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4.基督教作为一神论的特色是基督教的神是“三位一体”的神，同一个上帝具有三个位格：圣父、圣子和圣灵。&lt;br /&gt;
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The characteristic of Christianity as monotheism is that the God of Christianity is &amp;quot;Trinity&amp;quot; God, and a single God has three personalities: the Father,the Son and the Holy Ghost.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 13:04, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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The distinctive feature of Christianity as monotheism is that the Christian God is a &amp;quot;triune&amp;quot; God, the same God in three persons: the Father, the Son, and the Holy Spirit.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)&lt;br /&gt;
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==Ngo, Thi Minh Huong==&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
1.中国佛教经南北朝时期的拓展发扬，随着隋唐的统一，在政治稳定、经济繁荣、文化融和及帝王的护持等条件下，使得佛教经典翻译更有系统，义理更为明确。&lt;br /&gt;
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After Buddhism was extended and developed in the Southern and Northern Dynasties, along with the unity of China in Sui and Tang dynasties, a more complete system and theories were elaborated in a clearer way in the translation of Buddhist scriptures due to the political stability, buoyant economy, cultural integration and the emperors’ support.  &lt;br /&gt;
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2.道教从创教之初，就以老子的《道德经》为根本经典，将其中“道”和“德”作为基本的信仰。道教认为“道”是宇宙万物的本原和主宰，无所不在，无所不包，万物都是从“道”演化而来的。&lt;br /&gt;
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Since Taoism was set up, it has regarded the Tao Te Ching by Laozi as its keystone work and considered the Tao, the Way and the Te, the Morality as its fundamental belief. Taoism emphasized the “Tao” is the source and principle of the universe; it exists everywhere and contains everything; it is the origin of everything that exists.&lt;br /&gt;
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3.伊斯兰教既然认为安拉为人类造化了大地上的一切，所以就允许而且要求所有的穆斯林尽可能利用大地上的物质把自己装饰得美观一些、衣着讲究一些，因为这同享受安拉所创造的一切佳美的食物一样是对安拉恩赐的接纳。&lt;br /&gt;
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Since Islam believes Allah created everything in the earth, all Muslims are required to make the most of the material to beautify and dress themselves, which is regarded as an acceptance of Allah’s gift, just like enjoying all the good food created by Allah.&lt;br /&gt;
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4.康熙末年，因天主教会内部发生的可否允许中国内地教徒祭祖的“礼仪之争”相持日久，逐步升级为罗马教廷与中国朝廷的政治冲突，康熙帝断然对在华传教采取限禁措施。&lt;br /&gt;
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In the last years of reign of Kangxi, there was a long-standing debate within the Catholic Church on whether to allow the Christians in mainland China to offer sacrifices to their ancestors. This debate gradually escalated into a political conflict between the Vatican and the Chinese imperial court, so the Emperors Kangxi resolutely put forward restrictions and a ban on missionary work in China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:31, 10 December 2020 (UTC)Ouyang Ling&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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1.约在19世纪末和20世纪初，佛教先后传入欧洲和北美。1906年英国成立“英国佛教协会”，欧洲佛教徒开始有自己的组织。以后英、法、德、瑞士、瑞典、捷克斯洛伐克、匈牙利等国都有佛教僧团和研究机构。佛教传入美国后，又北传加拿大，南传巴西、秘鲁、阿根廷等国。&lt;br /&gt;
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Around the end of the 19th century and the beginning of the 20th century, Buddhism was introduced to Europe and North America successively.  In 1906, Britain established the &amp;quot;British Buddhist Association&amp;quot;, and European Buddhists began to have their own organizations.  In the future, Britain, France, Germany, Switzerland, Sweden, Czechoslovakia, Hungary and other countries will have Buddhist monks and research institutions.  After Buddhism was introduced to the United States, it spread to Canada in the north and Brazil, Peru, Argentina and other countries in the south.&lt;br /&gt;
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2.新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。&lt;br /&gt;
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After the founding of New China, through the democratic reform of the religious system, Taoism in China gained a new life and gradually embarked on a path compatible with socialist society.&lt;br /&gt;
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After the founding of the People’s Republic of China, through the democratic reform of religious system, Taoism of China was  resurrected and gradually embarked a path compatible with  the socialist society.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:33, 11 December 2020 (UTC)Xiao Ting &lt;br /&gt;
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After the founding of the People’s Republic of China, through the democratic reform of religious system, Taoism of China was  resurrected and gradually embarked on a path compatible with  the socialist society.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 03:07, 13 December 2020 (UTC)&lt;br /&gt;
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3.据统计，全世界穆斯林约有16亿人口（2018年），占同期世界人口总数的23.4％。在亚非40多个伊斯兰国家中，穆斯林占全国总人口的大多数。一些国家将伊斯兰教定为国教。&lt;br /&gt;
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According to statistics, there are approximately 1.6 billion Muslims in the world (2018), accounting for 23.4% of the total world population in the same period.  In more than 40 Islamic countries in Asia and Africa, Muslims account for the majority of the country's total population.  Some countries have designated Islam as the state religion.&lt;br /&gt;
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According to statistics, there are approximately 1.6 billion Muslims in the world (2018), accounting for 23.4% of the total world population during the period .  In more than 40 Islamic countries in Asia and Africa, Muslims account for the majority of the country's total population.  Some countries have designated Islam as their  state religion.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:33, 11 December 2020 (UTC)Xiao Ting &lt;br /&gt;
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4.由于历史原因，在华人中长期以来都习惯只把新教称为基督教。大陆的新教教会也从不称自己为新教，而只称基督教或耶稣教，而将罗马公教称为天主教，正教称为东正教。&lt;br /&gt;
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Due to historical reasons, it has long been accustomed to call Protestantism only Christianity among Chinese.  The Protestant churches on the mainland never call themselves Protestant, but only Christianity or Jesus, and the Roman Catholic Church and the Orthodox Church are called Eastern Orthodox.--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 06:29, 10 December 2020 (UTC)&lt;br /&gt;
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==Phyo, Su Kyi==&lt;br /&gt;
1-一种源自Siddhārtha Gotama教义的东亚和中亚宗教，苦难是生活中固有的，可以通过培养智慧，美德和专注力来摆脱苦难。&lt;br /&gt;
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A religion of eastern and central Asia growing out of the teaching of Siddhārtha Gautama that suffering is inherent in life and that one can be liberated from it by cultivating wisdom, virtue, and concentration.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。&lt;br /&gt;
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Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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3-伊斯兰教是一种亚伯拉罕式的一神教，教导人们穆罕默德是上帝的最终和最终的使者。它是世界上第二大宗教，有18亿追随者，占世界人口的24.1％，被称为穆斯林。穆斯林占49个国家人口的绝大多数。&lt;br /&gt;
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Islam is an Abrahamic monotheistic religion teaching that Muhammad is the final and ultimate messenger of God. It is the world's second-largest religion with 1.8 billion followers or 24.1% of the world's population, known as Muslims. Muslims make up a majority of the population in 49 countries. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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Islam, as an Abrahamic monotheistic religion, teaches people that Muhammad is the ultimate messenger of God. As the world's second-largest religion, it has 1.8 billion followers, accounting for 24.1% of the world's population, known as Muslims. Muslims make up a majority of the population in 49 countries.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:51, 9 December 2020 (UTC)&lt;br /&gt;
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4-基督教是一种拿撒勒人耶稣的生活和教导为基础的亚伯拉罕一神教。它的信徒被称为基督徒，他们相信耶稣是基督，弥赛亚的到来是在希伯来圣经中被预言的，该圣经在基督教中被称为旧约，并在新约中被记载。&lt;br /&gt;
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Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus of Nazareth. Its adherents, known as Christians, believe that Jesus is the Christ, whose coming as the Messiah was prophesied in the Hebrew Bible, called the Old Testament in Christianity, and chronicled in the New Testament.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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==Pingki, Tanchangya==&lt;br /&gt;
1.佛教由Suddhadhon和Rani Mahamaya的儿子Siddhartha Gautama于公元前6日在印度（菩提伽耶）建立。&lt;br /&gt;
Buddhism was founded in india (Bodh Gaya) in 6th BC by Siddhartha Gautama son of Suddhadhan and Rani Mahamaya.&lt;br /&gt;
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2.大乘佛教是由中国最大的民族汉朝传入的。&lt;br /&gt;
Mahayana Buddhism was introduced by the Han Dynasty, the largest ethnic group in china.&lt;br /&gt;
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3.小乘佛教是公元前9世纪从缅甸传入的。&lt;br /&gt;
Hinayana Buddhism was introduced from Burma, in 9th century BC.&lt;br /&gt;
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4.喇嘛教是藏族土著宗教引入的一种佛教形式。&lt;br /&gt;
Lamaism is a form of Buddhism introduces by indigenous Tibetan religion.&lt;br /&gt;
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5.道教是最初来自中国人民的唯一宗教。 它起源于顺帝皇帝统治时期的汉朝。&lt;br /&gt;
Taoism is the only religion originally came from Chinese people. It originated of the Han dynasty during the reign of Emperor Shundi.&lt;br /&gt;
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6.伊斯兰教由阿拉伯先知穆罕默德创立。 对于具有伊斯兰信仰的穆斯林人民来说，只有一位真主真主。&lt;br /&gt;
Islam was founded by the Arab prophet Muhammad.  For Muslim people with Islamic faith, there is only one Allah.&lt;br /&gt;
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7.基督教起源于耶稣的事奉，犹太人的老师和治疗者。 基督教是世界上最大的宗教，约有21亿追随者。&lt;br /&gt;
Christianity originated from the ministry of Jesus, the teacher and healer of the Jews.  Christianity is the largest religion in the world, with approximately 2.1 billion followers.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 19:22, 12 December 2020 (UTC)&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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The spread of Buddhism to Asian countries can be divided into two routes: in its south direction, it was spread to Sri Lanka at first, then from Sri lanka to Myanmar, Thailand, Cambodia and Laos and other countries. In its north direction, it was spread to China via Pamir Plateau and then from China to the North Korea, Japan, Vietnam and other countries.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。&lt;br /&gt;
Among the five religions of China, Daoism is the only one that originated from China and established by the Chinese. That’s why it is called indigenous religion. Daoism has had profound impact on ancient China’s politics, economic and culture and was one of the three spiritual pillars of the ruling class. After the founding of People’s Republic of China, Daoism was revitalized through democratic reform in religions system and started to set out on the path of adapting to socialist society.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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Among the five religions of China, Daoism is the only one that originated from China and established by the Chinese， thus being called indigenous religion. Daoism has had profound impact on ancient China’s politics, economy and culture and was one of the three spiritual pillars of the ruling class. After the founding of People’s Republic of China, Daoism was revitalized through democratic reform in religions system and started to set out on the path of adapting to socialist society.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:22, 13 December 2020 (UTC)&lt;br /&gt;
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3.穆罕默德早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。&lt;br /&gt;
When he was little, Muhammad dropped out of school and herded animals for people. At the age of 12, he followed his uncle and caravan of merchants to do business in areas such as Syria, Palestine, Mediterranean East Coast, where he had extensive contact with and witnessed social conditions of the Arabian Peninsula and Syria region, and learned about the primitive religions of Peninsula, Judaism and Christianity. All these provided a great amount of social knowledge and religious materials to his preach afterwards.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。&lt;br /&gt;
Generally speaking, Christians think that they derive their basic doctrines from the Bible. The historical churches have made many concise summaries of the basic doctrines in the form of creeds, tenets, confessions, etc. , which are seen as sources of doctrines by scholars studying doctrines. In addition, many theologians throughout the ages have attempted to explain and distinguish key points of beliefs of Christian faith in the light of the ideas of their time.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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1. 佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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The spread of Buddhism to Asia can be divided into two routes: Southward to Sri Lanka, then from Sri Lanka to Burma, Thailand, Cambodia, Laos, and other countries. In the north, Buddhism spread to China via the Pamir High Plain, and then from China to Korea, Japan, Vietnam, and other countries.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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2. 新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。&lt;br /&gt;
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After the founding of New China, some of the unreasonable systems and bad habits of Taoism in the old society were reformed, and Taoism was given a new face. The founding of the Chinese Taoist Association brought about a great union of Taoists throughout the country, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by the Anti-Rightist Struggle, the Great Leap Forward, the Communization of the People's Republics and other political movements.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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3. 穆罕默德是一位杰出的历史人物。生于麦加城古莱什部落哈希姆家族。他自幼父母双亡，由祖父和伯父抚养。早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。&lt;br /&gt;
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Muhammad is an outstanding historical figure. He was born into the H1ashemite family of the Quraysh tribe in the city of Mecca. His parents died at an early age and he was raised by his grandfather and uncle. At the age of 12, he followed his uncle and his caravan to Syria, Palestine and the eastern shore of the Mediterranean Sea, where he was exposed to and witnessed the social conditions in the Arabian Peninsula and Syria, and learned about the primitive religions of the Peninsula, Judaism and Christianity, which provided him with a great deal of social knowledge and religious materials for his later missionary activities.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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4. 宗教改革运动直接的导火线是教宗利奥十世以修建罗马圣彼得大教堂为名，于1517年派多明我会修士台彻尔到德国去兜售赎罪券，此事激起极大反感，据传马丁·路德于同年10月31日在维滕贝格教堂门前张贴反对兜售赎罪券的《九十五条论纲》,揭开这场宗教改革运动的序幕。&lt;br /&gt;
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The direct trigger for the Reformation movement was Pope Leo X's sending of the Dominican friar Thacher to Germany in 1517 to sell atonement tickets under the guise of building St. Peter's Basilica in Rome, which aroused such disgust that Martin Luther is said to have opened the Reformation movement by posting a &amp;quot;95 Theses&amp;quot; against the sale of atonement tickets in front of the Wittenberg church on October 31 of the same year.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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1.佛教发源于印度，其後能在中国弘传生根，便是通过经典的翻译。从东汉末年到唐代中叶，译经事业由初创到隆盛，历八百年之久。中国佛教译经事业的历时久远，可说是世界文化史上首屈一指的大业，而所译经论卷帙的庞复，诚为世界文化的瑰宝。&lt;br /&gt;
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Buddhism originated in India, and later took root in China through the translation of the classics. From the end of the Eastern Han Dynasty to the middle of the Tang Dynasty, the translation of scriptures lasted for 800 years from its inception to its flourishing. The long history of Chinese Buddhist sutra translation is one of the greatest in the history of world culture, and the volume of sutras translated is a treasure of world culture.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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2.新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。&lt;br /&gt;
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After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from a regional Arab mono-ethnic religion to a world-wide multi-ethnic religion is the result of the widespread spread of the Arab Islamic countries through continuous foreign expansion, business contacts, cultural exchanges, and the sending of missionaries to various parts of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。&lt;br /&gt;
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Christianity is generally believed to derive its basic doctrines from the Bible. The historical Church has given many concise summaries of the basic doctrines of Christianity in the form of creeds, creeds, confessions, etc., which are also regarded as the source of doctrine by scholars studying doctrine today.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
1. 佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.&lt;br /&gt;
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2. 道教在中国发展的几千年来,形成了自己特有的文化.道教文化极其高雅,极其通俗。亦其中一部分已演化为民间世俗，成为劳动群众精神生活的组成部分。&lt;br /&gt;
With the development of Taoism in China for thousands of years, it has formed its own unique culture, which is extremely elegant and popular. Some of them have evolved into folk customs and become part of the spiritual life of the working people.&lt;br /&gt;
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Taoism has developed its own unique culture in China for thousands of years. Taoism culture is extremely elegant and popular. Part of it has evolved into folk and secular, becoming a part of the spiritual life of the working people.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:44, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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3. 伊斯兰教的兴起，是阿拉伯半岛各部落要求改变社会经济状况和实现政治统一的反映。穆罕默德顺应了历史发展的需要，创传伊斯兰教，在宗教革命的旗帜下，领导了阿拉伯的社会变革运动，统一了阿拉伯半岛。&lt;br /&gt;
The rise of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their social and economic conditions and achieve political unity. Muhammad complied with the needs of historical development, created and spread Islam. Under the banner of religious revolution, he led the Arab social change movement and unified the Arabian Peninsula.&lt;br /&gt;
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The rise of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their socio-economic conditions and achieve political unity. Muhammad conformed to the needs of historical development, created Islam, led the Arab social transformation movement under the banner of religious revolution, and unified the Arabian Peninsula.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:44, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4. 基督宗教发端于公元1世纪罗马帝国统治下巴勒斯坦地区的犹太团体。1至5世纪是基督宗教创立并从以色列传向希腊罗马文化区域的时期，是基督宗教发展的早期阶段，是使徒和早期教父建立基督宗教基本教义和神学学说的时期。这一时期常被称为基督宗教发展上的第一个阶段。&lt;br /&gt;
Christianity originated in the Jewish community in Palestine under the rule of Roman Empire in the first century. From the 1st to the 5th century, Christianity was founded and spread from Israel to the Greek and Roman cultural areas. It was the early stage of the development of Christianity. It was the period when the apostles and early fathers established the basic doctrines and theological theories of Christianity. This period is often called the first stage in the development of Christianity.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:25, 12 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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1.由于传入的时间、途径、地区和民族文化、社会历史背景的不同，中国佛教形成三大系，即汉传佛教（汉语系）、藏传佛教（藏语系）和云南地区 [1]  上座部佛教（巴利语系）。&lt;br /&gt;
As a result of differences in time, route, region, ethnic culture, and socio-historical background, Chinese Buddhism has formed three major lineages, namely, Han Buddhism (Chinese), Tibetan Buddhism (Tibetan), and Shangban Buddhism (Pali) in Yunnan.&lt;br /&gt;
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As a result of differences in time, routes, region, ethnic culture, and socio-historical background, Chinese Buddhism has formed three major lineages, namely, Han Buddhism (Chinese), Tibetan Buddhism (Tibetan), and Shangban Buddhism (Pali) in Yunnan.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:37, 12 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。道教认为道可以修得，修炼的目的是得道成仙，最终目标是形神俱妙，与道合真。&lt;br /&gt;
Taoism inherits and develops the ideas of the pre-Qin Taoists, taking &amp;quot;Tao&amp;quot; as the highest belief, from which the highest classics, the highest Taoist techniques and the highest gods evolve, building a huge system of classical Taoism and immortality. Taoism believes that Tao can be cultivated, and that the purpose of cultivation is to attain immortality, with the ultimate goal of having both form and spirit, and being in harmony with Tao.&lt;br /&gt;
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3.全世界穆斯林约有16亿人口（2018年），占同期世界人口总数的23.4％。在亚非40多个伊斯兰国家中，穆斯林占全国总人口的大多数。一些国家将伊斯兰教定为国教。&lt;br /&gt;
There are approximately 1.6 billion Muslims in the world (2018), representing 23.4% of the world's population over the same period. In more than 40 Islamic countries in Asia and Africa, Muslims make up the majority of the total population. Some countries have made Islam the state religion.&lt;br /&gt;
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4.基督教一般认为，上帝的三位一体：基督教作为一神论的特色是基督教的神是“三位一体”的神，同一个上帝具有三个位格：圣父、圣子和圣灵。&lt;br /&gt;
Christianity generally holds that there is a trinity of God: Christianity as monotheism is characterized by the fact that the Christian God is a &amp;quot;triune&amp;quot; God, and that the same God has three persons: the Father, the Son, and the Holy Spirit.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:43, 9 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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1.宗教是人类社会发展到一定历史阶段出现的一种文化现象，属于社会特殊意识形态。&lt;br /&gt;
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1.Religion is a kind of cultural phenomenon that appears when human society develops to a certain historical stage, and it is a special social ideology.&lt;br /&gt;
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1. Religion is a kind of cultural phenomenon in the development of human society at a certain historical stage, which belongs to the special ideology of society.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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Religion is a kind of cultural phenomenon in the development of human society at a certain historical stage, belonging to a special ideology of society.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:21, 12 December 2020 (UTC)&lt;br /&gt;
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2.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。伊斯兰系阿拉伯语音译，原意为“顺从”“和平”。信奉伊斯兰教的人统称为“穆斯林”(意为“顺从者”)。&lt;br /&gt;
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2.Islam is one of three major religions in the world together with Buddhism and Christianity.It is an Arabic word meaning &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot;. People who have a religious belief of Islam are called &amp;quot;Muslims&amp;quot; (meaning &amp;quot;obedient&amp;quot;).&lt;br /&gt;
2. Islam, together with Buddhism and Christianity, is one of the world's three major religions. Islam is transliteration of Arabic and its original meaning is &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot;. People who believe in Islam are collectively referred to as &amp;quot;Muslims&amp;quot; (meaning &amp;quot;followers&amp;quot;).--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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3.天主教强调罪与罚，天堂与地狱；基督教强调因信称义，和神之间的亲密关系，信奉耶稣。&lt;br /&gt;
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3.Catholicism emphasizes sins and punishment,heaven and hell,while Christianism emphasizes honesty,intergrity,affinity of god ,and the firm belief of Jesus.&lt;br /&gt;
3. Catholicism emphasizes sin and punishment, heaven and hell; Christianity underlines righteousness by faith, close relationship with God, and believes in Jesus.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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4.虽然学者们对确切的日期争论不休，但许多人都认为，释迦牟尼可能出生于公元前490年左右的印度北部（印度年表将其出生时间定为公元前448年）。他的父母属于刹帝利种姓，他的父亲是一位受人尊敬的首领。他虽然比较富有，但从小就接触到了人间疾苦。&lt;br /&gt;
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4.While scholars debate the exact date, many agree that Siddhartha Gautama is probably born around 490 BCE in northern India (Indian chronology dates his birth to 448 BCE). His parents belong to the Shakya caste, and his father is a respected head of the community. Although he is relatively wealthy, Gautama is exposed to human suffering from an early age.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 09:13, 11 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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4. Although scholars have been arguing about the exact date, many people believe that Sakyamuni may have been born in northern India around 490 B.C. (the Indian chronology sets his date of birth as 448 BC). His parents belonged to the shatiri caste, and his father was a respected leader. Although he is relatively rich, he has been exposed to human suffering since childhood.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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1.Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。&lt;br /&gt;
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2.As a religious entity, Taoism not only has its unique classic doctrines, fairy beliefs and ritual activities, but also its religious inheritance, religious group organization, discipline system, and religious activities venues.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuanngling&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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3.Islam developed from a single ethnic religion in The Arab region to a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4.1至5世纪是基督宗教创立并从以色列传向希腊罗马文化区域的时期，是基督宗教发展的早期阶段，是使徒和早期教父建立基督宗教基本教义和神学学说的时期。&lt;br /&gt;
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4.The first to the fifth centuries were the period in which Christianity was founded and spread from Israel to the Greco-Roman cultural regions. It was the early stage in the development of Christianity and the period in which the apostles and early fathers established the basic doctrines and theology of Christianity.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
1. 峨眉山高出五岳、秀甲天下，山势雄伟、气象万千，素有“一山有四季，十里不同天”之妙喻。集自然风光与佛教文化为一体，著名的旅游胜地和佛教名山，1996年12月6日被列入《世界文化与自然遗产名录》。&lt;br /&gt;
Higher than any of the five great mountains of China, the awe-inspiring, majestic and picturesque Mount Emei is the perfect place to experience all four seasons in one day. Because of its natural beauty and Buddhist cultural heritage, Mount Emei, a tourist destination and a noteworthy Buddhist mountain, was listed as one of UNESCO’s World Natural and Cultural Heritages sites on Dec.6, 1996.&lt;br /&gt;
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2. 穆罕默德是一位杰出的历史人物。生于麦加城古莱什部落哈希姆家族。他自幼父母双亡，由祖父和伯父抚养。早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。&lt;br /&gt;
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Muhammad is an outstanding historical figure. Born into the Hashemite family of the Quraysh tribe in the city of Mecca , he was raised by his grandfather and uncle because his parents died when he was young . In his early years, he dropped out of school to graze for someone.At the age of 12, he followed his uncle and a caravan of merchants to Syria, Palestine and the eastern coast of the Mediterranean Sea, where he had extensive contact with and witnessed the social conditions of the Arabian Peninsula and Syria, and learned about the primitive religions of the Peninsula, Judaism and Christianity, which provided him with a great deal of social knowledge and religious materials for his later missionary activities.&lt;br /&gt;
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3. 天主教是基督教的一个派别，和东正教、新教并称基督教三大教派。亦称“公教”，有时也被称为“旧教”以区分于基督教的新教。其领导中心设在梵蒂冈，首脑是教皇，掌握世界各地的传教事业，是大部分的天主教徒的精神领袖。&lt;br /&gt;
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Catholicism is one of the three major Christian denominations, along with the Orthodox and Protestant. It is also known as the &amp;quot;Catholic Church&amp;quot; and sometimes as the &amp;quot;Old Church&amp;quot; in order to be distinguished from Protestant Christianity. Its leadership is centered in the Vatican and is headed by the Pope, who is in charge of missionary work around the world and is the spiritual leader of most Catholics.&lt;br /&gt;
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4.新中国成立后，广大道教徒拥护社会主义制度，拥护共产党的领导。他们自发成立学习小组，开展爱国主义、社会主义和时事政治的学习，发表《反帝爱国宣言》，开展捐献运动支援抗美援朝。&lt;br /&gt;
After the founding of People’s Republic of China,the majority of Taoists embraced the socialist system and the leadership of the Communist Party. They set up study groups on their own initiative, conducted studies on the doctrine of patriotism and socialism and current affairs and politics, issued the Anti-Imperialist Patriotic Manifesto, and carried out donation campaigns to support the Korean War.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:58, 11 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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&amp;lt;math&amp;gt;Insert formula here&amp;lt;/math&amp;gt;&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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1.佛教信徒依照悉达多所悟到修行方法，发现生命和宇宙的真相，最终超越生死和苦、断尽一切烦恼，得到究竟解脱。&lt;br /&gt;
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Based on Siddhartha's enlightenment, Buddhist believers hope to discover the truth of life and the universe, and finally be free from all the troubles brought by life and death. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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2.在五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
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Among the five major religions, Taoism is the only one that originated in China and was founded by the Chinese, so it is also regarded as China's native religion.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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Taoism is the only one that originated in China and was founded by the Chinese among the five major religions, so it is also known as the native religion.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:27, 12 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam is the fruit of the wide spread of Islamic countries through the continuous aggression and expansion, business contacts, cultural exchanges, and the dispatch of missionaries all over the world. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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4.耶稣为救赎人类，被钉十字架而死，故尊十字架为信仰的标记。&lt;br /&gt;
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Jesus died by crucifixion for the redemption of mankind, so Christians honored the cross as a sign of faith.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
1. 结束南北分裂局面而开展的隋唐，是中国历史上政治、经济、文化最强盛的朝代，也是中国佛教史上经典翻译、宗派竞立的巅峰时期，其影响不仅深入中国各阶层，而且远播至韩国(高丽、百济、新罗)、日本、越南，开启各国佛教的灿烂新页。&lt;br /&gt;
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1. The Sui and Tang dynasties, which ended the division between the north and the south, were the most politically, economically and culturally powerful dynasties in Chinese history, also the peak period of classical translations and sects in the history of Chinese Buddhism, whose influence spread not only to all classes in China, but also to Korea (Koguryo, Silla and Paekche), Japan and Vietnam, opening a new page of Buddhism development in all countries.&lt;br /&gt;
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2. 隋唐至北宋时期，由于统治阶级的尊崇，道教极为兴盛，社会影响极大，道教的哲学、养生术、符咒法、科仪规章也更为完善。&lt;br /&gt;
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2. From the Sui and Tang dynasties to the Northern Song dynasties, Taoism flourished due to the respect of the ruling class, which influenced the society a lot. Besides, its philosophy, health preservation, spell and regulations were further implemented. &lt;br /&gt;
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3. 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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3. Islam was developed from a mono-ethnic Arab religion to a world-wide multi-ethnic religion, due to the widespread spread of Islam in Arab countries through continuous expansion, business, cultural exchanges, and the sending of missionaries to various parts of the world.&lt;br /&gt;
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4. 基督教新教主要宗派包括信义宗、长老宗、圣公宗、浸礼宗、公理宗、卫斯理宗等。除这些较大派别外，新教还分化为众多的小教派和教会团体。&lt;br /&gt;
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4. The main denominations of Protestant Christianity include Lutheranism, Presbyterianism, Anglicanism, Baptism, Congregationalism, Wesleyanism, and so on. In addition to these large denominations, Protestantism is also divided into numerous smaller denominations and church groups.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:34, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
1.佛教的宇宙观是缘起论，即它认为--切事物都是因缘合和而起的。就认识问题而言，佛教认为，认识的成立必须具备三个因素:认识的器官或机能(根)、客观的对象(境)和主观的认识。&lt;br /&gt;
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Buddhism's world outlook is the theory of origin, that is, it believes that everything is the cause and effect.In terms of cognition, Buddhism believes that there must be three factors for the establishment of cognition: the organ or function of cognition (root), objective object (context) and subjective cognition.&lt;br /&gt;
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2.伊斯兰国家：是指在全国总人口中大部分人都信奉伊斯兰教的国家。据有关资料介绍，在全世界180多个国家中，有69个伊斯兰国家，占全世界国家总数三分之一以上。&lt;br /&gt;
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A country in which the majority of the population of the country believes in Islam.According to relevant information, there are 69 Islamic countries out of more than 180 countries in the world, accounting for more than one third of the total number of countries in the world.&lt;br /&gt;
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Islamic countries refer to countries in which the majority of the population believe in Islam. According to relevant data, there are 69 Islamic countries out of 180 plus countries in the world, accounting for more than one third of the total number around the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:11, 11 December 2020 (UTC)&lt;br /&gt;
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3.基督教信仰的对象为上帝，上帝(天主)是基督教的最高神。基督教宣称上帝是天地的主宰，是天地万物的唯一创造者。上帝虽然只有一个，但包括圣父、圣子、圣灵三个位格，三位一体，同受拜敬。&lt;br /&gt;
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The object of a Christian belief is God, the supreme God of Christianity.Christianity claims that God is the master of heaven and earth and the sole creator of all things.Although God has only one, it includes the Father, the Son, and the Holy Spirit.&lt;br /&gt;
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4.道教是中国土生土长的宗教，它的理论广泛容纳了中国古代社会的宗教意识和学术思想，是古代宗教、民间巫术、神仙方术、阴阳五行及道家思想等汇聚、融合的产物，带着鲜明的中国特色。&lt;br /&gt;
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Taoism is a religion born and bred in China . Its theory widely contains the religious consciousness and academic thought of ancient Chinese society . It is the product of the convergence and fusion of ancient religion, folk witchcraft, celestial magic, yin and yang, five elements and Taoist thought.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:53, 9 December 2020 (UTC)&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
1、佛教是一种约有三亿人信仰的世界性宗教。这个词来自于'菩堤'，意思是'觉悟' 。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的。&lt;br /&gt;
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Buddhism is a religion to about 300 million people around the world. The word comes from 'budhi', 'to awaken'. It originates from about 2,500 years ago when Siddhartha Gotama, known as the Buddha, was himself awakened (enlightened) at the age of 35.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。&lt;br /&gt;
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Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the  Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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3、“伊斯兰”是阿拉伯语音译，本意为“顺服”。从宗教意义上讲，“伊斯兰”是指一种顺服惟一的主宰——安拉的旨意和戒律的宗教。其宗教徒称为“穆斯林”，意为顺服安拉意志的人。&lt;br /&gt;
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&amp;quot;Islam&amp;quot; is Arabic transliteration, intended for the&amp;quot; obedience&amp;quot;. From the religious sense,&amp;quot; Islam&amp;quot; refers to a kind of obedience -- only to dominate the will of Allah and the precepts of religion. Its religious believers are known as&amp;quot; Muslim&amp;quot;, meaning to the will of allah. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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4、基督教根源于犹太教，公元1世纪中叶耶稣创立。135年从犹太教中分裂出来成为独立的宗教。早期基督教曾受到罗马皇帝的残酷迫害和镇压。&lt;br /&gt;
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Christianity is rooted in Judaism and founded by Jesus in the middle of 1st century. And it split from Judaism as an independent religion in 135 years. Early Christianity had been subjected to cruel persecution and repression of Roman emperors.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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Christianity is rooted in Judaism and founded by Jesus in the middle of 1st century. And it was split from Judaism as an independent religion in 135. Early Christianity had been subjected to cruel persecution and repression of Roman emperors.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:23, 13 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
1. 公元313年，罗马帝国皇帝君士坦丁一世发布“米兰敕令”，宣布基督教可与所有其他宗教同享自由，不受歧视。从此基督教成为官方认可的合法宗教。&lt;br /&gt;
In 313, the Roman Emperor Constantine I issued &amp;quot;Edict of Milan&amp;quot;, declared common freedom with Christianity and all other religions, without discrimination. Since then, Christianity became an official recognition of the legitimate religion.  &lt;br /&gt;
2. l6 世纪，随着西欧民族国家和市民阶级的兴起，爆发了反对罗马教皇封建统治的宗教改革运动，后陆续分化出脱离天主教会的一些新宗派，称为“新教”。所以，基督教是天主教、东正教和新教的总称。&lt;br /&gt;
In the 16 century, with the rise of Western European nation-state and public class, Rome, the Reformation movement broke out against rule of the Pope. After these, some of the new sect, known as the &amp;quot;Protestant&amp;quot;, were split from the Catholic Church. So, Christianity is general of Catholic, Orthodox and Protestan.&lt;br /&gt;
3. 佛教是一种约有三亿人信仰的世界性宗教。这个词来自于'菩堤’，意思是'觉悟’。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的&lt;br /&gt;
Buddhism is a religion to about 300 million people around the world. The word comes from '&amp;quot;budhi', 'to awaken'. It has its origins about 2,500 years ago when Siddhartha Gotama, known as the Buddha, was himself awakened (enlightened) at the age of35.&lt;br /&gt;
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:12, 12 December 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。&lt;br /&gt;
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The spread of Buddhism throughout Asia can be roughly divided into two routes: the south route, to Sri Lanka first, then from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries.&lt;br /&gt;
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2.道教界积极开展公益慈善活动，在长江流域特大洪水、汶川地震等重大灾难发生后，都及时组织祈福法会和捐款捐物活动，以道教特有方式为救灾工作作出贡献。&lt;br /&gt;
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Taoism has actively carried out public welfare and charity activities. After the catastrophic floods in the Yangtze River basin and the Wenchuan earthquake, Taoism organized prayer meetings and donation activities in a timely manner, contributing to the relief work in a unique Daoist way.&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam developed from a single ethnic religion in The Arab region to a multi-ethnic religion in the world, which was the product of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括。&lt;br /&gt;
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Christianity is generally believed to originate its basic teachings from the Bible. The church in history has made many essential summaries of the basic tenets of Christianity in various forms, such as creed and epistle.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:35, 11 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion. Taoism had a profound impact on the politics, economy and culture of ancient China, and was one of the three spiritual pillars of the ruling class. After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教的兴起，是阿拉伯半岛各部落要求改变社会经济状况和实现政治统一的反映。穆罕默德顺应了历史发展的需要，创传伊斯兰教，在宗教革命的旗帜下，领导了阿拉伯的社会变革运动，统一了阿拉伯半岛。&lt;br /&gt;
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The birth of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their social and economic conditions and achieve political unity. Muhammad complied with the needs of historical development, created and spread Islam. Under the banner of religious revolution, he led the Arab social change movement and unified the Arabian Peninsula.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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4.基督宗教是一个一神论的宗教，指所有相信主耶稣基督为救主的教会。虽然耶稣基督所建立的是一个合一的基督教会,但基督教在历史进程中却分化为许多派别，主要有天主教、东正教、新教三大传统教派。&lt;br /&gt;
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Christianity is a monotheistic religion, which refers to all the churches that believe in the Lord Jesus Christ as the Savior. Although the church established by Jesus Christ is a United Christian Church, Christianity has been divided into many factions in the historical process, including three traditional sects, namely Catholicism, Orthodox Church and Protestantism.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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After the spread of Buddhism to every part of the world, due to the locally social, political and cultural influence, its form and content have changed accordingly, thus giving birth to many sects.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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After its spreading to other regions, forms and contents saw changes and various sects were formed. The reason is that Buddhism was influenced by different local social, political and cultural environments. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:50, 9 December 2020 (UTC)&lt;br /&gt;
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明清两代，随着中国封建社会进入晚期，道教发展陷入停滞僵化。近代中国道教承明清余绪，除个别时期，一直处于低谷。&lt;br /&gt;
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In the Ming and Qing dynasties, with the entering of the late period of feudal society in China, the development of Taoism stagnated and ossified. Taoism in modern China, inheriting fruit in the Ming and Qing Dynasties, except for a few periods, has been at a low ebb.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Developing from a single ethnic religion in the Arab region, Islam finally became a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。&lt;br /&gt;
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It is generally believed in Christianity that its basic teachings derived from the ''Bible''. The church in history has made many essential summaries of the basic doctrines of Christianity in various forms, such as creed and epistles, which are also regarded as the source of the doctrines by scholars studying the doctrines today.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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It is generally believed in Christianity that its basic teachings derived from the ''Bible''. The churches in history have made many summaries of the basic doctrines of Christianity in various forms, such as creed and epistles, which are also regarded as the source of the doctrines studyed today.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:50, 9 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
1.与世界其他主要宗教不同的是，佛教是唯一基于全人类所共知的苦难而产生发展起来的。佛教使哲学和宗教思想发生了根本转变。&lt;br /&gt;
Uniquely among the great world religions, Buddhism is rooted only in the universal experience of suffering known to all human beings. Buddhism have revolutionized philosophical and religious thought.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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2.儒道两家各有偏重又相互补充，相反相成地融合为共同的和谐美的思想。&lt;br /&gt;
Confucianism and Daoism oppose and complement and fuse into the thought of beauty of harmony.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。截至到2009年底，世界人口约68亿人，穆斯林总人数是15.7亿，分布在204个国家和地区，占全世界的百分之二十三。&lt;br /&gt;
Islam is one of the world’s religious, with Buddhism and Christianity as the three major religions in the world. By the end of 2009, the world population of 6 billion 800 million people, the total number of Muslims was 1 million 570 million, distributed in 204 countries and regions, accounting for twenty-three percent of the world.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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4.基督教对西方文明产生了非常大的影响，自由、平等、博爱、为中心的人文主义传统，使得“生而平等”观点深入人心，成为《独立宣言》《人权宣言》的核心，成为后来西方民主政治的一种长远的精神推动力。&lt;br /&gt;
Christianity had a very big impact to Western civilization. Humanist tradition, as the center of freedom, equality, and fraternity, enjoyed “born equal” popular support, became heart of “Declaration of Independence,” “Declaration of Human Rights”, and a long-term spiritual driving force of the Western democratic. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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1.佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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After Buddhism spread to each region, due to local social, political, and cultural influences, there were corresponding changes in form and content, resulting in the formation of many sects.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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After Buddhism spread to every region, due to the influence of local society, politics, and culture, the form and content have changed accordingly, forming many sects.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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After Buddhism spread to every region, due to the influence of local social and political culture, its form and content changed accordingly, and many sects formed--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:31, 11 December 2020 (UTC)&lt;br /&gt;
2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Since the reform and opening up, under the guidance of the party and government’s religious policies in the new era, Taoism in China has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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Since the reform and opening up, under the guidance of the Party and government's new religious policy, Chinese Taoism has taken on an unprecedented new look, making positive contributions to promoting economic development, social harmony, the unification of the motherland, and world peace.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam has developed from a regional single-ethnic religion in the Arab region to a religion of multi-ethnic beliefs in the world. It is widely spread by Arab Islamic countries through continuous expansion, business exchanges, cultural exchanges, and missions to the world. the result of.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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4.虽然耶稣基督所建立的是一个合一的基督教会,但基督教在历史进程中却分化为许多派别，2013年全世界范围当中有超过一万个基督教派，主流的派别主要有天主教、基督新教、东正教三大传统教派，以及一些在信仰人数上虽不如传统教派多，但也有了相当的规模的非传统教派，如:摩门教。&lt;br /&gt;
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Although Jesus Christ established a united Christian church, Christianity has divided into many sects in the course of history. In 2013, there were more than 10,000 Christian sects worldwide. The mainstream sects are mainly Catholicism, Protestantism, The three traditional sects of Eastern Orthodox Church, and some non-traditional sects that are not as large as traditional sects in the number of believers, such as Mormonism.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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Although Jesus Christ established a unified Christian Church, Christianity has been divided into many denominations over the course of history; in 2013 there were more than 10,000 Christian denominations worldwide, with the dominant denominations being the three traditional denominations of Catholicism, Protestantism, and Orthodoxy, as well as some non-traditional denominations that are not as numerous as the traditional denominations, but have grown in size, such as Mormonism. --[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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1. 目前佛教已传播到世界各大洲。但主要仍集中在东亚和东南亚一带，这个地区的佛教信徒人数远远超过其他宗教信徒。&lt;br /&gt;
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At this moment, Buddhism has spread to all continents of the world. However, it is still concentrated in East Asia and Southeast Asia, where the number of Buddhists is far more than that of other religions. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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2. 道教是我国土生土长的宗教，是在汉代黄老道家思想基础上，吸收古代神仙家的方术和民间巫术及鬼神信仰，于东汉末年形成的。&lt;br /&gt;
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Taoism, a native-born religion in China, was formed at the end of the Eastern Han Dynasty by absorbing the ancient alchemy, folk witchcraft and belief in ghosts and gods on the basis of Taoist thought of Huang Lao in Han Dynasty. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰教有着一套具有自己从教特色的体系，它在神学信仰、政治主张、经济思想、道德规范等各方面所提倡的行为规范是每一个穆斯林都必须遵守的。&lt;br /&gt;
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Islam has a system with its own religious characteristics. Every Muslim must abide by the code of conduct it advocates in theological belief, political opinion, economic thought and moral standards. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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4. 天主教在教会体制上遵循“圣统制”，即各地的天主教会以罗马主教为尊，受罗马教宗管理，神权事务由罗马教宗授权，在天主教会看来，罗马教宗就是上帝在世的代表，是继承了耶稣门徒的传统，上帝授权他来管理教会。&lt;br /&gt;
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Catholicism follows the “Hierarchy” in its church system, that is, the Catholic churches everywhere respect the Bishop of Rome and are under the management of the Pope, and the theocracy affairs are authorized by the Pope. In the view of the Catholic Church, the Roman Pope is the representative of God in the world, inheriting the tradition of Jesus' disciples, and God authorized him to manage the church. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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玄奘少时家境贫困，跟着哥哥在洛阳净土寺，学习佛经。后来他从兰州出发，经河西走廊，到达瓜州，想要从那里出境，沿着我们现在所讲的“丝绸之路”去印度求法。&lt;br /&gt;
When he was young, Xuanzang came from a poor family and followed his brother to study Buddhist sutras in The Jingtui Temple in Luoyang. Later, he set out from Lanzhou and reached Guazhou through the Hexi Corridor. He wanted to leave from there and go to India to seek dharma along the Silk Road we now speak。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
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道教是中国的本土宗教，以历史唯物主义作为指导。道教从东汉诞生并演变，至近代大约有两千多年。&lt;br /&gt;
Taoism is the indigenous religion of China, which was guided by historical materialism from the birth and evolution of The Eastern Han Dynasty to the modern times over two thousand years--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
Islam&lt;br /&gt;
伊斯兰教主要分布地区有中东和北非等地。在我国，伊斯兰教也被称之为清真教。&lt;br /&gt;
Islam is mainly found in the Middle East and North Africa. It is also called “Qingzhen”in China。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
Christianity&lt;br /&gt;
基督教发源于巴勒斯坦地区犹太人社会，创始人是耶稣。基督教在人类的发展史上有着不可替代的作用，尤其是当今的西方社会，许多发达国家都以基督教文化为主导。&lt;br /&gt;
Christianity originated from the Jewish society in Palestine, and its founder was Jesus Christ. Christianity has played an irreplaceable role in the development history of mankind, especially in today's Western society, where many developed countries are dominated by Christian culture。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
1. 佛教四大名山闻名遐迩，鲜为人知的是中国还有一座山——终南山，堪称佛教诸宗的祖山，大乘佛教九宗中有六宗祖庭集于此处。佛教进入中国初期，并没有宗派之分，而当佛教走入山川形胜的终南秘境，仰对峰峦、俯拾河溪，却体会出更多佛法的真味。&lt;br /&gt;
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The four famous Buddhist mountains are well known. What is little known is that there is another mountain in China-Zhongnan Mountain, which can be called the ancestral mountain of all Buddhist sects. Six of the nine Mahayana Buddhist sects are gathered here. In the early days of Buddhism's entry into China, there was no sectarian distinction. However, when Buddhism entered the secret land of the south, where mountains and rivers prevailed, it realized more of the true flavor of Buddhism. &lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 15:01, 9 December 2020 (UTC)&lt;br /&gt;
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2. 道教深深扎根于民间，体现着百姓最朴素的信仰——衣食住行的每个诉求，都可以在道教神灵那里得以满足。在中国道教石窟中，你依然能感受到道教在中国人日常生活中的重要。&lt;br /&gt;
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Taoism is deeply rooted in the people and embodies the most simple belief of the people-every demand for food, clothing, housing and transportation can be satisfied by Taoist gods. In the Chinese Taoist grottoes, you can still feel the importance of Taoism in the daily life of the Chinese people. &lt;br /&gt;
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3. 清真寺是伊斯兰教进行宗教活动的中心，主要是供信徒礼拜之处。伊斯兰教，发源于阿拉伯半岛的麦加，信奉独一无二的造物主安拉，信徒被称作穆斯林。它和基督教一样，是外来的宗教。&lt;br /&gt;
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Mosque is the center of Islamic religious activities, mainly for believers to worship. Islam, which originated in Mecca on the Arabian Peninsula, believes in the unique Creator Allah and its followers are called Muslims. Like Christianity, it is a foreign religion. &lt;br /&gt;
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4. 以“耶稣基督”诞辰为记的圣诞节，是属于基督教的节日。这个现今世界上最大的宗教信仰，建立在一个丰满的神话体系上，在这些故事中，不仅有曲折动人的情节，还充满了爱与人情味儿。 &lt;br /&gt;
Christmas, which is marked by the birth of Jesus Christ, is a Christian festival. The largest religious belief in the world today is based on a full myth system. In these stories, there are not only tortuous and touching plots, but also full of love and human touch. &lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 15:01, 9 December 2020 (UTC)Zhang Weihong&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
1.佛教中国本土化在隋唐时期已初步完成，而儒、释、道三教的合流则在两宋时期。&lt;br /&gt;
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The localization of Buddhism in China has preliminarily finished in the Sui and Tang Dynasties, while the confluence of Confucianism, Buddhism and Taoism was in the Song Dynasty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC) &lt;br /&gt;
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The localization of Buddhism in China has preliminarily completed in the Sui and Tang Dynasties, while the confluence of Confucianism, Buddhism and Taoism was in the Song Dynasty.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:36, 11 December 2020 (UTC)&lt;br /&gt;
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2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Under the guidance of religious policy published by party and government in the new era, China’s Daoism has emerged an unprecedented new look since the reform and opening-up. It made positive contribution to promoting economic development, harmonious society, national unity and world peace.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是科学的宗教，它鼓励人们通过真科学对宇宙、世界进行认识和思考，从而使信仰更加坚固。&lt;br /&gt;
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Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, making the belief more stable.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)&lt;br /&gt;
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Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, thus making the belief more stable.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:03, 10 December 2020 (UTC)&lt;br /&gt;
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Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, making their beliefs more stable.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:55, 13 December 2020 (UTC)&lt;br /&gt;
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4.在基督教早期阶段，教会曾实行财产共有，外界视其为一种秘密性的宗教组织。&lt;br /&gt;
In the early stage of Christianity, the church ever implemented the policy of common ownership. However, the outside world regarded it as a secret religious organization.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
公元前6世纪至前5世纪，佛教创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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In the 6th century BC or the 5th century BC, Buddhism was founded in ancient India. Since then, it has been widely spread in Asia and around the world, and has had a significant impact on the social, political and cultural life of many countries.&lt;br /&gt;
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道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
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Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called the local religion.&lt;br /&gt;
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伊斯兰教公元七世纪由麦加人穆罕默德在阿拉伯半岛上首先兴起，公元7世纪中叶自西亚、中东传入中国。&lt;br /&gt;
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Islam first emerged on the Arabian Peninsula by Mecca, Muhammad, in the seventh century AD, and was introduced to China from West Asia and the Middle East in the middle of the seventh century.&lt;br /&gt;
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基督教是对奉耶稣基督为救世主的各教派统称，亦称基督宗教。基督教与佛教、伊斯兰教并称三大宗教。&lt;br /&gt;
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Christianity is the collective name for all denominations that hold Jesus Christ as the savior, also known as the Christian religion. Christianity, Buddhism, and Islam are called the three major religions.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 08:02, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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The spread of Buddhism throughout Asia can be roughly divided into two routes: southward to Sri Lanka first, and from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries. The northward spread to China via the Pamir Plateau, and then from China to Korea, Japan, Vietnam and other countries.&lt;br /&gt;
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2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China, in an unprecedented new atmosphere, has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.&lt;br /&gt;
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3.伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响。&lt;br /&gt;
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Islam has a history of more than 1400 years since its inception. As a religious belief, ideology and cultural system, it has influenced and integrated with local traditional culture after it was introduced into various parts of the world. Under different historical conditions, it has influenced the social development, political structure, economic form, cultural fashion, ethics and morality, lifestyle of many countries and nationalities to varying degrees.&lt;br /&gt;
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4.基督宗教各派都信奉耶稣基督为救主，都以《圣经》，又称《新旧约全书》为经典，其中《新约》各章节都相同，而《旧约》有所不同，东正教和天主教的内容比新教（基督教）要多几章。&lt;br /&gt;
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All denominations of the Christian religion believe in Jesus Christ as their Savior, and all use the Bible, also known as the Old and New Testaments, as their classics, with all chapters of the New Testament being the same and the Old Testament being different as the Orthodox and Catholics having a few more chapters than the Protestants (Christianity).--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:09, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
1.佛教产生于印度,最迟于东汉明帝时期传入内地。在魏晋南北朝时期快速发展,基于佛教思想意识体系完备,中国皇帝大力支持和寺院经济基础雄厚等原因,逐渐在中国广泛流传。&lt;br /&gt;
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Buddhism grew out of India and was introduced to the mainland at least by the reign of the Ming emperor in the Eastern Han dynasty. In the Wei, Jin and Southern and Northern dynasties, Buddhism developed rapidly and spread extensively and gradually in China due to complete Buddhist ideology systems, great support from Chinese emperors and strong economic fundamentals of temples.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)&lt;br /&gt;
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Buddhism, emerging in India, was introduced to the mainland at least by the reign of the Ming emperor in the Eastern Han dynasty. In the Wei and Jin Dynasties, and Southern and Northern dynasties, Buddhism developed rapidly. With complete Buddhist ideology systems, great support from Chinese emperors and strong economic fundamentals of temples, it began to spreading extensively in China at that time.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:12, 12 December 2020 (UTC)&lt;br /&gt;
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2.经过一千多年发展,道教已经形成了系统的养生理论与操作方法,得到社会的一定认可。在养生旅游蓬勃发展的今天,道教养生旅游成为养生旅游的重要形式之一,但就目前国内道教养生旅游开发来看,多处景区对道教养生文化资源的开发还有待深入,养生旅游产品特色不足。&lt;br /&gt;
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After more than one thousand years of development, Taoism has formed its own systematic regiment and operational methods, which obtain certain approvals from the whole society. At present, with the booming development of wellness tourism, Taoism health tourism is one of the significant forms of health tourism. However, considering from the present development of domestic health tourism, many scenic spots still have a long way to go for developing Taoist health-keeping culture for lacking of characteristics of products.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教自唐朝传入中国,到明清时完成了中国化进程,形成了回族这一特殊的民族。&lt;br /&gt;
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Islam was introduced to China from the Tang dynasty and completed its process of Sinicization in the Ming and Qing dynasties, forming the Hui, such a special ethnic group.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)&lt;br /&gt;
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4.在世界基督教的历史中,依托于欧洲文明的西方基督教成为基督教史的主流,具有同样深厚渊源的东方基督教却在历史长河中湮没不闻。&lt;br /&gt;
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In the world history of Christianity, the western Christianity based on European civilizations has become the mainstream of the history of Christianity while the eastern Christianity possessing the same profound origin has disappeared in the history.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:58, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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1.佛教于公元前6世纪至前5世纪，释迦牟尼创建于古印度，以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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Buddhism was founded by Siddhartha Gautama in ancient India between the 6th and 5th centuries B.C. It spread widely throughout Asia and the rest of the world, and had a significant impact on the socio-political and cultural life of many countries.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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Buddhism was founded in ancient India from the 6th century BC to the 5th century BC by Siddhartha Gautama. After that, it spread widely in Asia and all over the world, and had a significant impact on the social, political and cultural life of many countries.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)&lt;br /&gt;
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2.道教是一种多神教，沿袭了中国古代对于日月、星辰、河海山岳以及祖先亡灵都奉祖的信仰习惯，形成了一个包括天神、地祗和人鬼的复杂的神灵系统。&lt;br /&gt;
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Taoism is a polytheistic religion, inheriting the ancient Chinese belief in the sun, moon, stars, rivers, oceans and mountains, as well as the spirits of ancestors and the dead, and has formed a complex system of gods and spirits, including the gods of heaven, earth, humans and ghosts.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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Islam has developed from a regional single-ethnic religion in the Arab region to a religion of multi-ethnic beliefs in the world. It is widely spread by Arab Islamic countries through continuous expansion, business exchanges, cultural exchanges, and missions to the world. the result of.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)&lt;br /&gt;
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4.基督教文化是一种以基督教为其存在基础和凝聚精神的文化形态，包括其崇拜上帝和耶稣基督的宗教信仰体系，以及相关的精神价值和道德伦理观念。&lt;br /&gt;
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Christian culture is a cultural form that has Christianity as its foundation and unifying spirit, including its religious belief system of worshipping God and Jesus Christ, as well as the related spiritual values and moral and ethical concepts.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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Christian culture is a cultural form that takes Christianity as its basis of existence and a cohesive spirit, including its religious belief system of worshiping God and Jesus Christ, as well as related spiritual values and moral and ethical concepts.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
1.佛教经由两条路径传入中国，一支由古印度经西域传入中原地区，尔后传入朝鲜半岛、越南、日本等处，称北传佛教。另一支则由东南亚传至中国南方，为南传佛教，但其影响力不及于中原，因此并不被包括在汉传佛教中。&lt;br /&gt;
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Buddhism was introduced into China through two routes, one was introduced into the Central Plains from ancient India via the Western Regions, and then into the Korean Peninsula, Vietnam, Japan and other places, called Northern Buddhism. The other one was spread from Southeast Asia to southern China as Southern Buddhism, but its influence was not as great as that of the Central Plains, so it was not included in Chinese Buddhism.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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Buddhism was introduced to China through two routes: one was from ancient India to the Central Plains via the Western region, and then to the Korean Peninsula, Vietnam, and Japan, called Northern Buddhism. The other one came from Southeast Asia to Southern China, called Southern Buddhism, but its influence was not as good as in the Central Plains, so it was not included in the Chinese Buddhism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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2.开光是道教特有的一种宗教科仪，道教认为凡是所塑的神像都要经过一道程序，即装藏。&lt;br /&gt;
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Consecration is a religious ritual peculiar to Taoism. Taoism believes that all statues of gods must go through a process, which is to hide.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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Consecration (refers to invite benevolent spirit ) is a religious ritual unique to Taoism. Taoism believes that all statues of deities go through a process called ''zhuangzang'', which refers to a hole is left behind the statue and when consecrating, the monk will put scriptures, jewels, grains, and metal lungs and livers in and seal the hole. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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3.“伊斯兰”系阿拉伯语音译，意为“顺从”、“和平”，指顺从和信仰创造宇宙的独一无二的主宰安拉及其意志，信奉伊斯兰教的人统称为“穆斯林”，意为“顺从者”。&lt;br /&gt;
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&amp;quot;Islam&amp;quot; is an Arabic transliteration, meaning &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot;. It refers to obedience and belief in the unique ruler of Allah and its will that created the universe. People who believe in Islam are collectively referred to as &amp;quot;Muslims&amp;quot;, meaning &amp;quot;submissive &amp;quot;.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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&amp;quot;Islam&amp;quot; is a transliterated word of the Arabic, meaning &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot; which refers to obedience to and faith in Allah and his will, the unique master who created the universe. Those who believe in Islam are known as &amp;quot;Muslims&amp;quot;, meaning &amp;quot;the obedient&amp;quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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4.“基督”是希腊语的弥赛亚（救世主），当时在犹太人中传布着一种弥赛亚的预言，大致是说，犹太人将要出一个像古代名王大卫（公元前11世纪的一位犹太民族英雄，建立犹太王国，定都耶路撒冷）那样的民族救世主，实现“上帝的国”。&lt;br /&gt;
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&amp;quot;Christ&amp;quot; is the Greek Messiah (Savior). At that time, a Messianic prophecy was preached among the Jews. It roughly means that the Jews will have a national savior like the ancient king David (a Jewish national hero in the 11th century BC who established the Jewish kingdom and set the capital in Jerusalem), and realize the &amp;quot;kingdom of God&amp;quot;.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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&amp;quot;Christ&amp;quot; is the Greek word for Messiah (Savior). At that time, there was a Messianic prophecy spreading among the Jews that the Jews would have a national savior like the ancient king David (a Jewish national hero of the 11th century BC who founded the Jewish kingdom and set its capital in Jerusalem),and realize the &amp;quot;Kingdom of God&amp;quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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==Zubareva, Ekaterina==&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201207_cult&amp;diff=111360</id>
		<title>20201207 cult</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201207_cult&amp;diff=111360"/>
		<updated>2020-12-13T10:04:24Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Alsied, Saffana==&lt;br /&gt;
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==Cao Runxin 曹润鑫==&lt;br /&gt;
1.6世纪，佛教从中国经朝鲜传入日本，此后一直成为日本的主要宗教。&lt;br /&gt;
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Buddhism was introduced to Japan from China via Korea in the 6th century and has been the main religion of Japan ever since.&lt;br /&gt;
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2.近代中国学者多数认为：道家与道教是两个既相互联系又有区别的概念。&lt;br /&gt;
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Most modern Chinese scholars believe that Taoism and Daoism are two concepts that are both interrelated and distinct.&lt;br /&gt;
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3.穆罕默德在早期的宣教中，告诫人们放弃多神信仰和偶像崇拜，宣称真主是宇宙万物的创造者，是唯一的主宰，要求人们信奉独一无二的真主。&lt;br /&gt;
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In his early preaching, Muhammad admonished people to abandon polytheism and idolatry, proclaimed that God is the creator of all things in the universe and the only Lord, and asked people to believe in the one and only God.&lt;br /&gt;
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4.上帝的创造以及人作为上帝的形象：世界是上帝创造的，上帝照着自己的形象造人。&lt;br /&gt;
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God's creation and man as the image of God: The world was created by God, and God made man in His own image.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:04, 13 December 2020 (UTC)&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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1.佛教解释了生命的真相，它对世上种种不公正以及不平等现象（人生的痛苦）作出了解释，并提供了修行解脱的道路，使人走向真正的幸福。&lt;br /&gt;
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Buddhism explains the truth of life, as well as all the injustices and inequalities (the pain of life) around the world. And it provides paths for people to spiritual liberation, which leads them to true happiness. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC) &lt;br /&gt;
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2.道教理论的最普遍图形表示就是阴和阳循环的圆形图像，它代表了宇宙中相反事物的平衡关系，当它们都平等地呈现出来，所有的一切都会平静。当其中一个超过另一个的时候，就会出现混淆。&lt;br /&gt;
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The most common image of Taoist theology is the circular ''yin''-''yang'' figure which represents the balance of opposites in the universe. When they are equally presented, all is in a tranquil state. When one is outweighed by the other, there are confusion and disarray. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教认为《古兰经》是“神圣的语言”，是伊斯兰教信仰和教义的最高准则，是伊斯兰教法的渊源和立法的首要依据，是穆斯林道德行为的重要准绳，也是伊斯兰教各学科和各派别学说赖以建立的理论基础。&lt;br /&gt;
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Islam believes that ''The Koran'' is the supreme principle of its belief and doctrine, the origin of Islamic law and the primary basis for legislation. It is an important criterion for Muslims' moral behavior, and is also the theoretical foundation on which various disciplines and sects of Islam rely. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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4.原罪思想，使得治理国家的办法应依托于制度，依托于法律，实现了从“人治”到“法治”的飞跃，不仅如此，赎罪的观念，引起了资本主义精神的产生，推动了西方资本主义的发展。&lt;br /&gt;
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The thoughts of original sin made the way of governing the country rely on the system and the law, achieving a leap from &amp;quot;rule of man&amp;quot; to &amp;quot;rule of law&amp;quot;. In addition, the concept of atonement gave rise to the spirit of capitalism and promoted the development of Western capitalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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1.佛陀涅槃后，弟子们奉行四谛，八正道等基本教义，在教团生活中维持着他在世时的惯例。&lt;br /&gt;
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After the Buddha’s nirvana, his disciplines followed the basic doctrines of the Four Noble Truths and the Eight-fold Noble Way so as to maintain the conventions of his lifetime. &lt;br /&gt;
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2.道教主张以清静无为，不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼。&lt;br /&gt;
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Taoism claims that we should let things take their own course and keep ourselves from desires in the secular life, and dominate our own destiny in the process of practicing austerities.&lt;br /&gt;
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3.各氏族部落各据一方，逐水草而居，彼此之间经常为争夺牧场，水源，土地而发生战争。&lt;br /&gt;
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The clans occupy various areas by the water and grass, but will frequently launch wars for pasture, water and land. &lt;br /&gt;
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4.神爱世人，甚至将他的独生子（耶稣基督）赐给他们，叫一切信他的，不至灭亡，反得永生。&lt;br /&gt;
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God loves people so much that he even bestows his only son-Jesus Christ to them and whoever believes in him will not perish but instead have a eternal life.&lt;br /&gt;
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==Dashkin, Gennadii==&lt;br /&gt;
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1. One significant difference between Chinese Buddhism and original Buddhist teachings is the belief that Buddha is not just a teacher who taught followers what to do, but a god to be prayed to for help and salvation. &lt;br /&gt;
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中国佛教与原始佛教教义之间的一个重要区别是，人们相信佛陀不仅是向跟随者传教如何做的老师，而且是向上帝祈祷以寻求帮助和救赎的老师。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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2. At Taoist temples, people may worship Taoist idols that represent a historical figure, an immortal, or a folk god. &lt;br /&gt;
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在道观中，人们可能会崇拜代表历史人物，神仙或民间神灵的道教神像。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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3. In 1910, it was estimated that Muslims made up about 1 or 2 percent of the population of China (about 7 million people).&lt;br /&gt;
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据估计，在1910年，穆斯林约占中国人口的1-2％（约700万人）--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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4. Chinese Christians must believe that a man born thousands of years ago and thousands of kilometers away to an unknown alien people was the Son of God. &lt;br /&gt;
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中国基督徒必须相信，一个千百年前出生在千里之外与一个陌生的外星人相伴的人是上帝的儿子。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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1.“阿弥陀佛”是一个梵语词，字面意思为无限的光和无限的生命。他是极乐世界里的佛，在极乐世界里，众生都享受着无限的幸福。&lt;br /&gt;
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“Amitabha” is a Sanskrit word literally meaning boundless light and boundless life. He is the Buddha in the Land of Ultimate Bliss, in which all beings enjoy unbound happiness.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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2. 万物负阴而抱阳，冲气以为和。&lt;br /&gt;
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The created universe carries the yin at its back and the yang in front, through the union of the pervading principles it reaches harmony.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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3. 截止到2009年底，世界人口约68亿人口中,穆斯林总人数是15.7亿,分布在204个国家和地区，占全世界的23%。&lt;br /&gt;
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By the end of 2009, of the world's population of about 6.8 billion, the total number of Muslims was 1.57 billion, distributed in 204 countries and regions, accounting for 23% of the world's total population.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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4. 耶稣，又名耶稣基督，是基督教的中心人物，被大多数基督教会尊为上帝的儿子和上帝的化身。&lt;br /&gt;
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Jesus, known as Jesus Christ, is the central figure of Christianity and is revered by most Christian churches as the Son of God and the incarnation of God. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)&lt;br /&gt;
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1. “Amitabha” is a Sanskrit word, literally meaning endless light and forever life. He is the Buddha in the Land of Ultimate Bliss, in which all beings enjoy unbound happiness.&lt;br /&gt;
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2. The created universe carries the yin at its back and the yang in front, through the union of the pervading principles it reaches harmony.&lt;br /&gt;
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3. By the end of 2009, the world’s population was about 6.8 billion, of which the total number of Muslims was 1.57 billion, in 204 countries and regions, accounting for 23% of the world’s population.&lt;br /&gt;
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4. Jesus, known as Jesus Christ, is the central figure of Christianity, revered by most Christian churches as the Son of God and the incarnation of God. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:42, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
1. 佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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After Buddhism spreading to every region, because of the influence of local society, politics and culture, its form and content have changed accordingly and formed many sects.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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2. 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only religion originated in China and founded by the Chinese, so it is also called native religion. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The Islam is from the religion of a single ethnic group in the Arab region to the religion of multi-ethnic belief in the world, and it is the result of the wide spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, and sending missionaries to all parts of the world.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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4.早期基督教神学家通过发挥基督教的基本教义，依托当时流行的哲学载体，构造出更加复杂的教义体系。&lt;br /&gt;
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Early Christian theologians constructed a more complex doctrine system by giving full play to the basic teachings of Christianity and relying on the popular philosophical carriers at that time. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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1、佛教中常说的烦恼，就从妄想中来。妄想爱情美好，妄想荣华富贵，妄想健康长寿，当达不到这些标准的时候，烦恼就来了。&lt;br /&gt;
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Buddhism says that people's worries come from their desires such as the desire for beautiful love, money, health and longevity. If they cannot reach their desires, worries come.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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2、老子以「道」作为最初本源和内在支配者，认为世间万物存在着互联、互动的密切关系。&lt;br /&gt;
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Lao zi suggests that Tao is the original source and inner ruler, and everything in the world has close interconnection and interaction with each other.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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3、伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响。&lt;br /&gt;
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Islam boasts a long history of more than 1400 years so far. As a religion, ideology and cultural system, it has made influences to different extends on the social development, political structure, economic form, culture, ethic and life style of many countries as well as nations at different stages through the mutual influence and integration with local cultures after it was spread worldwide. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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4、圣经又分为两部分:《旧约》和《新约》，《旧约》与《新约》以耶稣出生为界限划分，前者主要侧重于对犹太民族历史的讲述以及犹太人对于其真神的讲述。&lt;br /&gt;
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The Bible has two part:&amp;quot;The Old Testament&amp;quot;, &amp;quot;The New Testament&amp;quot;, which was divided by the birth of Jesus. The former emphasizes on telling the history of Jewish people and their talks about the true god.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)&lt;br /&gt;
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==Grosheva, Anna==&lt;br /&gt;
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1. Mahayana Buddhism was originally founded during the Kushan Empire and spread to China where various school sects were developed; before spreading further and becoming popular in other Asian countries like Japan. &lt;br /&gt;
大乘佛教最初是在库山帝国时期建立的，并传播到发展了各种学派的中国。 在进一步传播并在日本等其他亚洲国家流行之前。 --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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2. Taoism is basically a term for China’s indigenous philosophies and religious beliefs, and as defined this way, it has always been China’s main religion that colors all the others. &lt;br /&gt;
道教从根本上说是中国本土哲学和宗教信仰的术语，按照这种定义，道教一直是中国的主要宗教，为所有其他宗教增色。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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3. Thus less than 20 years after the death of the prophet, Islam was officially introduced and started to become established as a new religion and culture in China. &lt;br /&gt;
因此，在先知死后不到20年的时间里，伊斯兰教就被正式引入并开始在中国确立为一种新的宗教和文化。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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4. Unlike other Chinese religious adherents, Christians in China become Christians by the change of faith and not by birth. &lt;br /&gt;
与其他中国宗教信奉者不同，中国的基督徒通过改变信仰而不是出生而成为基督徒。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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==Guirou, Barthelemy==&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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1.禅宗主张因材施教。它除了要对信徒给予面对面的传教说法之外，还要通过一些动作以及手势来教导信徒。这些特点都让禅宗能够避免走进教条主义以及形式主义等不好的方向，也因此能够长久地在民间得到发展和深入。&lt;br /&gt;
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Zen Buddhism prefers teaching people according to his or her ability. In addition to giving face-to-face instruction to its adherents, it also teaches through gestures. All these characteristics have enabled Zen to avoid going in the wrong direction of dogmatism and formalism, so as to develop and deepen its popularity in the long run.&lt;br /&gt;
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Zen Buddhism advocates teaching according to the ability of the student. In addition to giving face-to-face instruction, it also teaches through gestures and gestures to its followers. These characteristics allow Zen to avoid going in the bad direction of dogmatism and formalism, and thus to develop and deepen its popularity in the long run.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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2.道教理论的最普遍图形表示就是阴和阳循环的圆形图像。它代表了宇宙中相反事物的平衡关系。当它们都平等地呈现出来，所有一切都会平静。当其中一个超过另一个的时候，就会出现混淆和混乱。阴和阳是信徒追随的原型，有助于让个人去凝视他或她的生命状态。&lt;br /&gt;
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The most common graphic representation of Taoist theology is the circular Yin Yang figure. It represents the balance of opposites in the universe. When they are equally present, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are a model that the faithful follow, an aid that allows each person to contemplate the state of his or her lives.&lt;br /&gt;
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The most universal graphic representation of Taoist theory is the circular image of the yin and yang cycles. It represents the balance of opposite things in the universe. When they are all equally represented, all is calm. When one outweighs the other, there is confusion and chaos. The yin and the yang are archetypes followed by the devotee, helping the individual to gaze at his or her life state.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是世界三大宗教之一，伊斯兰教世界的国家遍布亚、非两个大洲，总体算来也有大约五十个。此外，在各大洲很多国家里都有信仰伊斯兰教的人民（穆斯林）。这些国家包括一些西方国家诸如英、美、俄、法、德等国家。&lt;br /&gt;
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Islam is one of the three major religions in the world, it covers Asia and Africa with about fifty Islamic countries. In addition, there are many countries in the world that have people who believe in Islam (Muslim). These countries include some western countries, such as the UK, the US, Russia, France and Germany.&lt;br /&gt;
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Islam is one of the three major religions of the world, and the countries of the Islamic world are spread over two continents, Asia and Africa, and there are about fifty countries in total. In addition, Islam is practiced by people (Muslims) in many countries on all continents. These countries include some Western countries such as the United Kingdom, the United States, Russia, France, and Germany.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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4.基督教对西方文明产生了非常大的影响。自由、平等、博爱为中心的人文主义传统，使得“生而平等”观点深入人心，成为《独立宣言》《人权宣言》 中的核心，成为后来西方民主政治的- -种长远的精神推动力。&lt;br /&gt;
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Christianity had a profound impact on Western civilization. Its humanist tradition, which focused on freedom，equality and fraternity, made the idea of &amp;quot;born equal&amp;quot; popular in the world. It not only became the core of &amp;quot;Declaration of Independence&amp;quot; and &amp;quot;Declaration of Human Rights&amp;quot;，but also a long-term spiritual driving force of the Western democracy.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:47, 9 December 2020 (UTC)&lt;br /&gt;
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Christianity has had a great influence on Western civilization. The humanist tradition centered on freedom, equality, and fraternity made the idea of &amp;quot;all men are created equal&amp;quot; deeply rooted in people's hearts, and became the core of the Declaration of Independence and the Declaration of Human Rights, as well as the long-term spiritual impetus for Western democratic politics.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Ha, Thi Thu Hang==&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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1.公元前6世纪至前5世纪，释迦牟尼于古印度创建佛教。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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From the 6th century BC to the 5th century BC, Sakyamuni founded Buddhism in ancient India. Since then, it has been widely spread in Asia and all over the world, and has had a significant impact on the social, political and cultural life of many countries.&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion. Taoism had a profound impact on the politics, economy and culture of ancient China, and was one of the three spiritual pillars of the ruling class.&lt;br /&gt;
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3.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。信奉伊斯兰教的人统称为“穆斯林”(意为“顺从者”)。7世纪初兴起于阿拉伯半岛，由麦加人穆罕默德(约570—632)创传。主要传播于亚洲、非洲，以西亚、北非、中亚、南亚次大陆和东南亚最为盛行。&lt;br /&gt;
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Islam, together with Buddhism and Christianity, is one of the world's three religions. People who believe in Islam are collectively referred to as &amp;quot;Muslims&amp;quot; (meaning &amp;quot;followers&amp;quot;). It originated in the Arabian Peninsula in the early 7th century and was created by Muhammad (570-632) of Mecca. It mainly spreads in Asia and Africa, especially in West Asia, North Africa, Central Asia, South Asian subcontinent and Southeast Asia.&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。很多神学家的著作也是阐发基督教基本教义的宝贵资源。&lt;br /&gt;
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Christianity generally believes that its basic doctrines are derived from the Bible. The church in history has made a lot of concise summary of the basic doctrines of Christianity in various forms, such as creed, creed and epistemology, which is also regarded as the source of doctrine by scholars who study dogmatics today. In addition, the theologians of all ages tried to explain and distinguish the Christian faith principle according to the concept of their times. The works of many theologians are also valuable resources for elucidating the basic tenets of Christianity.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:06, 13 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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1. 道教理论的最普遍图形表示就是阴和阳循环的圆形图像。它代表了宇宙中相反事物的平衡关系。当它们都平等地呈现出来。所有一切都会平静。当其中一个超过另一个的时候，就会出现混淆和混乱。阴和阳是信徒追随的原型，有助于让一个人去凝视他或她的生命状态。&lt;br /&gt;
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1. The most common graphic representation of Taoist theology is the circular Yin Yang figure. It represents the balance of opposites in the universe. When they are equally present, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are a model that the faithfull follow, an aid that allows each person to contemplate the state of his or her lives.&lt;br /&gt;
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1. The most common graphic representation of Taoist theology is the circular image of the Yin and Yang. It represents the balance of opposites in the universe. When they are equally presented, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are the archetypes followed by  disciple, helping each person to contemplate the state of his or her lives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:59, 11 December 2020 (UTC)&lt;br /&gt;
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2. 佛教与基督教、伊斯兰教并称的世界三大宗教之一。公元前6世纪至前5世纪，释迦牟尼创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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2. Buddhism, together with Christianity and Islam, is one of the three major religions in the world. Sakyamuni founded it in ancient India from the 6th century BC to the 5th century BC. After that, it was widely spread in Asia and all over the world, and had a great influence on the social, political and cultural life of many countries.&lt;br /&gt;
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2. 佛教是与基督教、伊斯兰教并称的世界三大宗教之一。在公元前6世纪至前5世纪由释迦牟尼创建于古印度，之后广泛传播于亚洲及世界各地，对许多国家的社会、政治和文化生活产生过重大影响。&lt;br /&gt;
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Buddhism, enjoying equal popularity with Christianity and Islam, is one of the three major religions in the world. Sakyamuni founded it in ancient India from the 6th century BC to the 5th century BC. After that, it was widely spread in Asia and all over the world, making a great impact  on the social, political and cultural life of many countries.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 13:12, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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2. Buddhism, together with Christianity and Islam, is one of the three major religions in the world. It was founded by Sakyamuni in ancient India from the 6th century BC to the 5th century BC and later widely spreaded in Asia and all over the world, having a great influence on the social, political and cultural life of many countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:59, 11 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰教的名字来源于阿拉伯语的音译。它的本义是服从，它的信徒叫穆斯林。伊斯兰教成立于7世纪初，是世界三大宗教之一。&lt;br /&gt;
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3. The name of Islam derives from the transliteration in Arabic. Its original meaning is obedience, and its believers are called muslem. Islamism was established at the beginning of the 7th century and ranked one of three major religions in the world. &lt;br /&gt;
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The word Islam is a transliteration of an Arabic word. Its essence is obedience, and its followers are called Muslims. Founded in the early 7th century, Islam is one of the three major religions in the world. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:38, 9 December 2020 (UTC)&lt;br /&gt;
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4. 基督教是亚伯拉罕的一神论宗教，以耶稣基督的生活和教义为基础，如新约中所述。基督教是世界上最大的宗教，有超过24亿信徒，被称为基督徒。基督徒相信耶稣是上帝的儿子，是人类的救世主，他作为基督或弥赛亚的到来在旧约中被预言。&lt;br /&gt;
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4. Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus Christ as presented in the New Testament. Christianity is the world's largest religion, with over 2.4 billion adherents, known as Christians. Christians believe that Jesus is the Son of God and the savior of humanity whose coming as Christ or the Messiah was prophesied in the Old Testament.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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印度佛教最初传入中国，因文化背景全然不同，故被视为与当时流行的黄老神仙方术同类，仅通行於少数的王公贵族之间。&lt;br /&gt;
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Because of different cultural background, the Indian Buddhism was considered to be similar to the Huanglao in China, consequently only popular among a small number of nobles.&lt;br /&gt;
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 When Indian Buddhism was first introduced into China, because of its different cultural background, it was regarded as the same as Huang Lao, which was popular at that time, and only popular among a small number of nobles.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:10, 13 December 2020 (UTC)&lt;br /&gt;
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新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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After the founding of the Republic of China, through the democratic reform of the religious system, the Taoism gained a new life and gradually embarked on a path adapting to the socialist society. Since the reform and opening up, under the guidance of the Party and government's religious policies in the new era, Taoism has taken on an unprecedented new look, making positive contributions to the economic development, social harmony, the unification of China and the world peace.&lt;br /&gt;
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伊斯兰教反对偶像崇拜，所以清真寺内没有任何由人形和动物形组成的偶像图案。寺内装饰大多以阿拉伯文、几何图纹和花卉画纹组成抽象图案为主。&lt;br /&gt;
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Islam is against idol worship, so there are no idol motifs consisting of human or animal shapes in the mosques, most of which are decorated with abstract designs consisting of Arabic, geometric patterns and floral paintings.&lt;br /&gt;
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由于新教（反对教）教义强调只能信上帝，不能拜其他偶像，因此与&amp;quot;祭奠祖先&amp;quot;等很多中国传统习俗产生了很大抵触，使得基督教之前在中国一直没有得到很好的传播和发展，直到后来来中国传教的刚恒毅（1876年－1958年）与雷鸣远神父解释中国人祭祖敬孔礼并不违背教会的信仰，中国人这么地做是为了向已亡的父母和祖先表达尊敬。教宗碧岳十二世因而在1939年12月8日删除了祭祖敬孔的禁令，才解决了这一问题。然而，新教一直也不接受中国人拜祖先。&lt;br /&gt;
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There was a great conflict between Christianity and many traditional Chinese customs such as &amp;quot;ancestor worship&amp;quot;, for the Protestant demands that only God can be believed in and no other idols can be worshipped, so Christianity did not spread and develop well in China until later when the missionary Gang Hengyi (1876-1958) and the priest Lei Mingyuan explained to the Chinese that the ritual of the Confession of Confucius is not contrary to the beliefs of the Church because it is done by the Chinese to show respect to their late parents and ancestors. Pope Pius XII therefore solved the problem by removing the ban on ancestor worship on December 8, 1939. However, Chinese ancestor worship has always been unacceptable to Protestants.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 13:52, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
1.禅宗主张心性本净，佛性本有，觉悟不假外求，舍离文字义解，直彻心源。&lt;br /&gt;
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Zen advocates that the mind and nature are pure, the Buddha's nature is original, enlightenment is achieved by oneself, and the interpretation of words is left, leading to the heart.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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2. 道教以道为最高信仰，把《道德经》奉为经典，尊道贵德。认为道是产生天地万物的本源，宇宙、阴阳和万象万物都是由道化生的。德即“得”，道体现在人和万物中即是德。人和万物都是由道生由德育，所以应尊道贵德。&lt;br /&gt;
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Taoism takes Tao as its highest belief, regards the Tao Te Ching as a classic, and respects the virtue of Taoism. It is believed that Tao is the origin of everything in heaven and earth, and everything in the universe, yin and yang is transformed by Tao. Tao means &amp;quot;getting&amp;quot;, and morality is embodied in man and all things. People and all things are born by Tao and moral education, so we should respect Tao and noble virtue.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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3. 《古兰经》是伊斯兰教唯一的根本经典。&lt;br /&gt;
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The Koran is the only fundamental classic of Islam.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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4. 后人为纪念耶稣的诞生，便定十二月二十五为圣诞节，年年望弥撒，纪念耶稣的出世。&lt;br /&gt;
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Later generations, in order to commemorate the birth of Jesus, set December 25th as Christmas, and observed Mass every year to commemorate the birth of Jesus.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
1.佛教自汉代传入中国,并逐渐与儒道并行互融,成为中国文化有机而重要的组成部分,对中国文化的影响至深至远。&lt;br /&gt;
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Since its introduction to China in the Han Dynasty, Buddhism has gradually become an organic and important part of Chinese culture in parallel with Confucianism and Taoism, and has had a profound and far-reaching impact on Chinese culture.&lt;br /&gt;
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2.道教文化体现着中国人的哲学思维、认知观念、价值取向、 审美情趣，正如鲁迅先生所说，每一个中国人在意识深处都是一个道教徒。&lt;br /&gt;
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Taoist culture embodies the philosophical thinking, cognitive concepts, values, and aesthetic interests of the Chinese people, and as Mr. Lu Xun said, every Chinese person is a Taoist deep in his or her consciousness.&lt;br /&gt;
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3.新疆伊斯兰教作为中国的宗教,坚持中国化方向,进行中国化改造是历史必然,符合客观规律。&lt;br /&gt;
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As a Chinese religion, it is historically inevitable for Xinjiang Islam to adhere to the direction of Chineseness and undergo Chineseness transformation, which is in line with objective laws.&lt;br /&gt;
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4.自唐代传入中国以来,基督教在华传播的历程伴随着问题与挑战,在很长的历史时期中基督教与中国既有的哲学、宗教与伦理体系(包括儒家思想、道教、中国佛教以及鬼神和祖先崇拜的&amp;quot;中国民间宗教&amp;quot;)互动,同时通过适应和文化融入的方式努力将自身&amp;quot;本土化&amp;quot;与&amp;quot;中国化&amp;quot;。&lt;br /&gt;
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Since its introduction to China in the Tang Dynasty, the spread of Christianity in China has been accompanied by problems and challenges, and over a long historical period Christianity has interacted with China's established philosophical, religious, and ethical systems (including Confucianism, Taoism, Chinese Buddhism, and the &amp;quot;Chinese folk religions&amp;quot; of ghosts, gods, and ancestor worship) while trying to &amp;quot;localize&amp;quot; and &amp;quot;sinicize&amp;quot; itself through adaptation and cultural integration.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:22, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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1、三大宗教中，以基督教人数最多，伊斯兰教次之，佛教最后，虽然人数各有不同，但是各个宗教的信徒都是平等的。虽说是三大宗教，但三大宗教提倡和平共处，可以相互交流文化。慈悲，博爱，和平，是这三大宗教的真谛。同时这也是所有宗教的共同目标。&lt;br /&gt;
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Among the three major religions, Christianity has the largest number of people, followed by Islam and Buddhism last. Although the number of people varies, the followers of each religion are equal.Despite they are the three major religions, but they promote peaceful coexistence and mutual cultural exchange. Compassion, love and peace are the true meaning of these three religions. This is also the common goal of all religions.&lt;br /&gt;
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In terms of the number of believer, Christianity ranks the first, followed by Islam and Buddhism the last. Varied in number, the followers of each religion are equal. Despite of different beliefs, the three major religions called for  peaceful coexistence and mutual cultural exchanges. Compassion, love and peace are the essence and common goal of these three religions. --[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 16:12, 11 December 2020 (UTC)&lt;br /&gt;
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2、约在公历纪元前后，佛教传入中国。在汉代被视为神仙方术的一种。至南北朝时传播于全国，出现了很多学派。隋唐时期进入鼎盛阶段，形成了很多具有中国民族特点的宗派。&lt;br /&gt;
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Buddhism was introduced into China around the time of the Gregorian calendar. During the Han Dynasty, it was regarded as a form of divine magic. By the time of the Northern and Southern Dynasties, it spread throughout the country and many schools of thought emerged. During the Sui and Tang dynasties, it reached its peak and many sects with Chinese national characteristics were formed.&lt;br /&gt;
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3、在基督教早期阶段，教会曾实行财产共有，外界视其为一种秘密性的宗教组织。犹太人视教会为离经判道的异端，常常向罗马当局控告他们。&lt;br /&gt;
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In the early stages of Christianity, the Church was a community of shared property and was seen by others as a secret religious organization. The Jews regarded the church as a deviant heresy and often brought charges against them to the Roman authorities.&lt;br /&gt;
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4、伊斯兰教要求人们信仰真主并服从真主，从心灵深处信仰真主的存在和伟大，同时要求在行为上要表现出顺从真主的意志，力行一定的功修，把信仰和行为的实践联合起来，达到增强信仰、巩固信仰的目的。&lt;br /&gt;
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Islam requires people to believe in God and obey Him, to believe in His existence and greatness from the depths of their hearts, and to demonstrate obedience to His will in their actions, to perform certain practices, and to unite their faith with the practice of their actions in order to strengthen their faith and consolidate it.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:08, 11 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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Islam requires people to believe in Allah and obey Him, to believe in His existence and greatness from the depths of their hearts, and to demonstrate obedience to His will in their actions, to perform certain practices, and to unite their faith with the practice of their actions in order to strengthen and consolidate their faith.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 16:12, 11 December 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
1．中国佛教译经事业的历时久远，可说是世界文化史上首屈一指的大业，而所译经论卷帙的庞复，诚为世界文化的瑰宝。&lt;br /&gt;
Chinese Buddhism's translation with a long history can be said to be one of the greatest undertakings in the history of world culture, and the vast number of translated scriptures is truly a treasure of world culture.&lt;br /&gt;
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Chinese Buddhist scripture translation has a long history, and it can be said to be a major cause in the history of world culture. The Pangfu of the translated scriptures is truly a treasure of world culture. --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:14, 12 December 2020 (UTC)&lt;br /&gt;
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2．新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
After the founding of People’s Republic of China, through the democratic reform of the religious system, Chinese Taoism was reborn and gradually made its way in line with the socialist society. Since the reform and opening up, under the guidance of the Party’s and government's new religious policy, Chinese Taoism has taken on an unprecedented new look, and thus has made a positive contribution to promoting economic development, social harmony, the unification of China, and world peace.&lt;br /&gt;
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3．基督教文化是属于扩张型的，其哲学观念认为时间是有始有终的，而空间是无限可重复的，所以欧洲人最早猜测出地球是圆的。&lt;br /&gt;
Christian culture is expansive, and its philosophy holds that time has a beginning and an end, while space is infinitely repeatable, so Europeans first guessed that the earth is round.&lt;br /&gt;
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4．伊斯兰教的形成是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
The Islam came from its wide spread in Arab countries through expansion, trade, cultural exchange, sending missionaries to the world and other means.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:40, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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The formation of Islam is the result of the widespread dissemination of Arab Islamic countries through various channels such as continuous external expansion, business exchanges, cultural exchanges, and sending missionaries to all over the world.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:14, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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1. 佛教僧侣并不扮演牧师的角色——他们并非人神的中介——其律例也不诉诸超自然的力量或权威。其次，简化物质，佛教认为对物质的执着是造成痛苦的根源，因为没有什么是永恒的。&lt;br /&gt;
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Buddhist monks have no priestly role--they are not intermediaries between God and mankind--and their ordination confers no supernatural powers or authority. In addition, to simplify it, Buddhists believe that attachment- the clinging onto objects- is what causes suffering because nothing will last forever. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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Buddhist monks have no priestly role--they are not intermediaries between God and mankind--and their ordination confers no supernatural powers or authority. In addition, Buddihism also simplify substance. It regards clinging onto objects as the causes suffering because nothing will last forever.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:06, 11 December 2020 (UTC)&lt;br /&gt;
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2. 作为早期道教的重要经典，《太平经》蕴含着丰富的美学思想，对后世道教美学产生过深远影响。《太平经》不仅记载了我国古代最早的道教音乐理论，而且对乐律与人的身心健康的关系给予了相当的重视。&lt;br /&gt;
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As an important classic of early Taoism, Scripture of the Great Peace reserves plenty of aesthetic thoughts and had profoundly influenced the Taoist aesthetics. Scripture of the Great Peace not only records the earliest Taoist musical theories of our ancient country, but also attaches importance to the relation between music and physical and psychological health .--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰系阿拉伯语音译，愿意为“顺从”“和平”。信奉伊斯兰教的人统称为“穆斯林”。伊斯兰教至今已有1400多年的历史，它传入世界各地后，对许多国家和民族的社会发展、政治结构、经济形态等都产生了不同程度的影响。&lt;br /&gt;
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Islam is an Arabic word meaning “obedience ”and “peace”. People who believe in it are called “Muslims”. Islam has a history of more than 1400 years. After its introduction to other parts of the world, it has posed varying degrees of influence on the social development, political structure, economic form and others. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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4. 在西方天主教的传统中，白色代表喜庆，其他地区，白色在婚礼和葬礼上代表了不同的意义。 《圣经》是天主教徒奉为圣言的经典、必读之书。它不仅是一部宗教经典，也是世界文化和知识宝库的一部杰作。&lt;br /&gt;
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According to Catholic tradition in the West, white represents happiness; in other areas, white embodied different significance at weddings and funerals. The Bible is a classic and required reading for Catholics. It is more than a religious classic, but also a masterpiece of the world’s culture and intellectual treasures. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)&lt;br /&gt;
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According to Catholic tradition in the West, white represents happiness, while in other areas, it embodied different significance at weddings and funerals. The Bible is a classic and required book for Catholics. It is more than a religious classic, but also a masterpiece of the world’s culture and intellectual treasures.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:06, 11 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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1.佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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Due to local social, political, and cultural influences, the form and content of Buddhism will change accordingly when spread to every region, resulting in the formation of many sects.&lt;br /&gt;
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After its spreading to other regions, forms and contents saw changes and various sects were formed. The reason is that Buddhism was influenced by different local social, political and cultural environments. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:48, 9 December 2020 (UTC)&lt;br /&gt;
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2.新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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After the founding of People’s Republic of China, Chinese Taoism was reborn through democratic reforms of religious system, and gradually embarked on a path compatible with the socialist society. Since the reform and opening up, Chinese Taoism has taken on an unprecedented new look thanks to religious policies carried out by Chinese Communist Party and the government, which has made positive contributions to promoting economic development, social harmony, national reunification and world peace.&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam has developed from a single -ethnic religion in Arab region to a multi-ethnic one in the world,which is a result of the wide spread of Islam of Islamic states in Arab in many ways, such as continuous expansion, trade and cultural exchange and the dispatch of missionaries all over the world.&lt;br /&gt;
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Islam has developed from a exclusive religion in Arab region to a multi-ethnic one in the world,which is a result of efforts from Islam of Islamic states in Arab in many ways, from continuous expansion, trade and cultural exchange to the dispatch of missionaries all over the world.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 10:25, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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4.历史上的教会以信经、信条等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，神学家们企图结合其时代的观念阐释和辨明基督教的信仰要理。&lt;br /&gt;
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The churches in history have provided many concise summaries of the basic doctrine of Christianity in the form of creed, tenet, etc., which are considered the origin of doctrine by today's scholars of dogmatics.What’s more, theologians have attempted to elucidate and discern the essentials of the belief in Christianity combing with the concepts of their time.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:34, 9 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
1、创始人释迦牟尼生于今尼泊尔境内的蓝毗尼，是释迦族的一个王子。关于他的生卒年，在南、北传佛教中，至今仍有种种不同的说法，一般认为生于公元前6至前5世纪间。他在青少年时即感到人世变幻无常，深思解脱人生苦难之道。29岁出家修行。得道成佛。&lt;br /&gt;
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The founder, Sakyamuni, was born in Lumbini in present-day Nepal and was a prince of the Sakya tribe. There are still different theories about his birth and death dates in Northern and Southern Buddhism, but it is generally believed that he was born between the 6th and 5th centuries BC. At the age of 29, he became a monk and practiced Buddhism. He became a monk and became a Buddha.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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The founder, Sakyamuni, was born in Lumbini in present-day Nepal and was a prince of the Sakya tribe. There are still different theories about his birth and death dates in Northern and Southern Buddhism, but it is generally believed that he was born between the 6th and 5th centuries BC. At the age of 29, he became a monk and practiced Buddhism. --[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)&lt;br /&gt;
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2、解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。&lt;br /&gt;
新中国成立后，广大道教徒拥护社会主义制度，拥护共产党的领导。&lt;br /&gt;
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Before the liberation of the People's Republic of China (PRC), Taoism was full of feudalism. It was a major task for Taoists in the new PRC to educate themselves about patriotism, reform the feudal economy of the palaces, abolish the feudal remnants of Taoism, and clear the boundaries with the reactionary Taoists.&lt;br /&gt;
Since the founding of New China, the majority of Taoists have embraced the socialist system and the leadership of the Communist Party.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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Before the liberation of the People's Republic of China (PRC), Taoism was full of feudalism. It was a major task for Taoists in the new PRC to educate themselves about patriotism, reform the feudal economy of the palaces, abolish the feudal remnants of Taoism, and clear the boundaries with the reactionary Taoists.&lt;br /&gt;
After the founding of new China, the majority of Taoists have given support to the socialist system and the leadership of the Communist Party.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:52, 12 December 2020 (UTC)&lt;br /&gt;
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3、伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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Developing from a single ethnic religion in the Arab region, Islam finally became a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 9 December 2020 (UTC)&lt;br /&gt;
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The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, sending missionaries to all over the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)&lt;br /&gt;
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4、基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。&lt;br /&gt;
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Christianity is generally believed to derive its basic doctrines from the Bible. The historical church has provided many concise summaries of the basic doctrines of Christianity in the form of creeds, epistles, confessions, and other forms, which are also regarded as sources of doctrine by scholars of doctrine today. In addition, theologians throughout the ages have attempted to explain and discern the essentials of the Christian faith in light of the concepts of their time.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)&lt;br /&gt;
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Christianity generally believe that its basic doctrines derive from the Bible. The historical church has provided many concise summaries of the basic doctrines of Christianity in the form of creeds, epistles, confessions, and other forms, which are also regarded as sources of doctrine by scholars of doctrine today. In addition, theologians throughout the ages have attempted to explain and discern the essentials of the Christian faith in light of the concepts of their time.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
1. 隋唐佛教的兴盛繁荣，除得力於佛教本身在南北朝所奠定的稳固基础外，更有赖於国家的统一强盛及护持提倡。&lt;br /&gt;
The prosperity of Buddhism in the Sui and Tang dynasties not only resulted from the solid foundation of Buddhism in the Northern and Southern Dynasties, but also from the unification of the state and the promotion of its support.&lt;br /&gt;
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2. 建国前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。&lt;br /&gt;
The Taoism before 1949 was full of feudalism. It became a major task for Taoism in the new China to educate the Taoists on patriotism, abolish the feudal remnants in Taoism, and draw a clear line with the reactionary Taoism sects.&lt;br /&gt;
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3. 伊斯兰教反对偶像崇拜，所以清真寺内没有任何由人形和动物形组成的偶像图案。寺内装饰大多以阿拉伯文、几何图纹和花卉画纹组成抽象图案为主。&lt;br /&gt;
Islam is against idol worship. Therefore, the mosque does not have any idol pictures made of human and animal shape. Most of the mosques are ornamented with abstract designs featuring Arabic, geometric and floral patterns.&lt;br /&gt;
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4. 基督徒看重信徒间的交通。跟随基督是学效他的慈爱、公义与服侍人的榜样。要做到这些，必须在人际关系中具体表现出来；而这种机会得在教会中去找。&lt;br /&gt;
Christians attach importance to fellowship among believers. To follow Christ is to learn from his love, justice and service to others. And those believers should practice it  in human relationships; and such opportunities have to be found in the church.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 10:20, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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1.The prosperity of Buddhism in Sui and Tang Dynasties depends not only on the solid foundation laid by Buddhism itself in the Southern and Northern Dynasties, but also on the unity, prosperity and advocacy of the country.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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2.Before the founding of the People's Republic of China, Taoism was full of strong feudal atmosphere. It was an important task for Taoism in New China to carry out patriotic education for Taoist believers, abolish feudal remnants of Taoism and draw a clear line with reactionary sects.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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3.Islam opposes idolatry, so there are no idol patterns composed of human and animal in mosques. Most of the decorations in the temple are mainly abstract patterns composed of Arabic, geometric patterns and flower patterns.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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4.Christians value the communication between its believers. To follow Christ is to learn from his love, justice and service to others. To do this, we must practise it in interpersonal relationships; and this kind of opportunity has to be found in the church.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)&lt;br /&gt;
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==Lo, Minh Thao==&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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1.佛教创立后，在印度几经演变。佛陀及其直传弟子所宣扬的佛教，称为根本佛教。佛陀涅槃后，弟子们奉行四谛、八正道等基本教义，在教团生活中维持着他在世时的惯例。由于佛陀在世时于不同场合对不同的对象有着不同的说法，弟子们对此便产生不同的理解。&lt;br /&gt;
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After the foundation of Buddhism, it has experienced several changes in India. The Buddhism advocated by Buddha and his direct disciples is called fundamental Buddhism. After the nirvana of the Buddha, the disciples pursued the basic doctrines of the four truths and the eight righteous doctrines, and maintained the conventions of his lifetime in the life of groups. Because Buddha had different views on different objects in different situations, so the disciples had different understandings about it.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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2.新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。&lt;br /&gt;
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After the founding of the people's Republic of China, some unreasonable systems and bad habits of Taoism in the old society were reformed, making the Taoism take on a new look. The establishment of the Chinese Taoist Association has realized the great union of Taoists in China, and the majority of taoists who love the nation have begun to work together for the development of Taoism which has been affected by the Anti-Rightist Movement, the Great Leap Forward, the People's Commune and other political movements.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, sending missionaries to all over the world.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。&lt;br /&gt;
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Christianity generally believes that its basic doctrines are derived from the Bible. The church in history has made a lot of concise summary of the basic doctrines of Christianity in various forms, such as creed, creed and epistemology, which is also regarded as the source of doctrine by scholars who study dogmatics today.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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1.佛事仪式原是释迦时代所行的宗教活动，传到中国后演变为满足信众需求的经忏、佛事活动。主要有各种忏法、水陆法会、盂兰盆会、焰口等。&lt;br /&gt;
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The Buddhist ceremony was originally a religious activity in the Sakyamuni era. After it was introduced to China, it evolved into a Buddhist activity to meet the needs of believers. The main activities include repentance rituals, water and land assembly, Yulan ceremony, Yankou, etc.&lt;br /&gt;
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Buddhist rituals were originally religious activities practiced during the time of Sakya, but after their arrival in China, they evolved into sutra confessions and Buddhist rituals to meet the needs of the faithful. The main rituals include various confessions, water and land rituals, Bon rituals, and fireworks.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)&lt;br /&gt;
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2.后经魏晋南北朝数百年的改造发展，道教的经典教义、修持方术、科戒仪范渐趋完备，新兴道派滋生繁衍，并得到统治者的承认，演变为成熟的正统宗教。&lt;br /&gt;
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After hundreds of years of transformation and development in the Wei, Jin, Southern and Northern dynasties, the classic doctrines, practicing methods, discipline and etiquette of Taoism became more and more complete, and the new Taoism school emerged and prospered, which was recognized by the rulers, and evolved into a mature orthodox religion.&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, and the dispatch of  missionaries to all over the world.&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)&lt;br /&gt;
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4.基督教作为一神论的特色是基督教的神是“三位一体”的神，同一个上帝具有三个位格：圣父、圣子和圣灵。&lt;br /&gt;
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The characteristic of Christianity as monotheism is that the God of Christianity is &amp;quot;Trinity&amp;quot; God, and a single God has three personalities: the Father,the Son and the Holy Ghost.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 13:04, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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The distinctive feature of Christianity as monotheism is that the Christian God is a &amp;quot;triune&amp;quot; God, the same God in three persons: the Father, the Son, and the Holy Spirit.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)&lt;br /&gt;
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==Ngo, Thi Minh Huong==&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
1.中国佛教经南北朝时期的拓展发扬，随着隋唐的统一，在政治稳定、经济繁荣、文化融和及帝王的护持等条件下，使得佛教经典翻译更有系统，义理更为明确。&lt;br /&gt;
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After Buddhism was extended and developed in the Southern and Northern Dynasties, along with the unity of China in Sui and Tang dynasties, a more complete system and theories were elaborated in a clearer way in the translation of Buddhist scriptures due to the political stability, buoyant economy, cultural integration and the emperors’ support.  &lt;br /&gt;
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2.道教从创教之初，就以老子的《道德经》为根本经典，将其中“道”和“德”作为基本的信仰。道教认为“道”是宇宙万物的本原和主宰，无所不在，无所不包，万物都是从“道”演化而来的。&lt;br /&gt;
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Since Taoism was set up, it has regarded the Tao Te Ching by Laozi as its keystone work and considered the Tao, the Way and the Te, the Morality as its fundamental belief. Taoism emphasized the “Tao” is the source and principle of the universe; it exists everywhere and contains everything; it is the origin of everything that exists.&lt;br /&gt;
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3.伊斯兰教既然认为安拉为人类造化了大地上的一切，所以就允许而且要求所有的穆斯林尽可能利用大地上的物质把自己装饰得美观一些、衣着讲究一些，因为这同享受安拉所创造的一切佳美的食物一样是对安拉恩赐的接纳。&lt;br /&gt;
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Since Islam believes Allah created everything in the earth, all Muslims are required to make the most of the material to beautify and dress themselves, which is regarded as an acceptance of Allah’s gift, just like enjoying all the good food created by Allah.&lt;br /&gt;
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4.康熙末年，因天主教会内部发生的可否允许中国内地教徒祭祖的“礼仪之争”相持日久，逐步升级为罗马教廷与中国朝廷的政治冲突，康熙帝断然对在华传教采取限禁措施。&lt;br /&gt;
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In the last years of reign of Kangxi, there was a long-standing debate within the Catholic Church on whether to allow the Christians in mainland China to offer sacrifices to their ancestors. This debate gradually escalated into a political conflict between the Vatican and the Chinese imperial court, so the Emperors Kangxi resolutely put forward restrictions and a ban on missionary work in China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:31, 10 December 2020 (UTC)Ouyang Ling&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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1.约在19世纪末和20世纪初，佛教先后传入欧洲和北美。1906年英国成立“英国佛教协会”，欧洲佛教徒开始有自己的组织。以后英、法、德、瑞士、瑞典、捷克斯洛伐克、匈牙利等国都有佛教僧团和研究机构。佛教传入美国后，又北传加拿大，南传巴西、秘鲁、阿根廷等国。&lt;br /&gt;
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Around the end of the 19th century and the beginning of the 20th century, Buddhism was introduced to Europe and North America successively.  In 1906, Britain established the &amp;quot;British Buddhist Association&amp;quot;, and European Buddhists began to have their own organizations.  In the future, Britain, France, Germany, Switzerland, Sweden, Czechoslovakia, Hungary and other countries will have Buddhist monks and research institutions.  After Buddhism was introduced to the United States, it spread to Canada in the north and Brazil, Peru, Argentina and other countries in the south.&lt;br /&gt;
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2.新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。&lt;br /&gt;
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After the founding of New China, through the democratic reform of the religious system, Taoism in China gained a new life and gradually embarked on a path compatible with socialist society.&lt;br /&gt;
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After the founding of the People’s Republic of China, through the democratic reform of religious system, Taoism of China was  resurrected and gradually embarked a path compatible with  the socialist society.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:33, 11 December 2020 (UTC)Xiao Ting &lt;br /&gt;
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After the founding of the People’s Republic of China, through the democratic reform of religious system, Taoism of China was  resurrected and gradually embarked on a path compatible with  the socialist society.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 03:07, 13 December 2020 (UTC)&lt;br /&gt;
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3.据统计，全世界穆斯林约有16亿人口（2018年），占同期世界人口总数的23.4％。在亚非40多个伊斯兰国家中，穆斯林占全国总人口的大多数。一些国家将伊斯兰教定为国教。&lt;br /&gt;
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According to statistics, there are approximately 1.6 billion Muslims in the world (2018), accounting for 23.4% of the total world population in the same period.  In more than 40 Islamic countries in Asia and Africa, Muslims account for the majority of the country's total population.  Some countries have designated Islam as the state religion.&lt;br /&gt;
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According to statistics, there are approximately 1.6 billion Muslims in the world (2018), accounting for 23.4% of the total world population during the period .  In more than 40 Islamic countries in Asia and Africa, Muslims account for the majority of the country's total population.  Some countries have designated Islam as their  state religion.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:33, 11 December 2020 (UTC)Xiao Ting &lt;br /&gt;
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4.由于历史原因，在华人中长期以来都习惯只把新教称为基督教。大陆的新教教会也从不称自己为新教，而只称基督教或耶稣教，而将罗马公教称为天主教，正教称为东正教。&lt;br /&gt;
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Due to historical reasons, it has long been accustomed to call Protestantism only Christianity among Chinese.  The Protestant churches on the mainland never call themselves Protestant, but only Christianity or Jesus, and the Roman Catholic Church and the Orthodox Church are called Eastern Orthodox.--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 06:29, 10 December 2020 (UTC)&lt;br /&gt;
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==Phyo, Su Kyi==&lt;br /&gt;
1-一种源自Siddhārtha Gotama教义的东亚和中亚宗教，苦难是生活中固有的，可以通过培养智慧，美德和专注力来摆脱苦难。&lt;br /&gt;
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A religion of eastern and central Asia growing out of the teaching of Siddhārtha Gautama that suffering is inherent in life and that one can be liberated from it by cultivating wisdom, virtue, and concentration.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。&lt;br /&gt;
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Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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3-伊斯兰教是一种亚伯拉罕式的一神教，教导人们穆罕默德是上帝的最终和最终的使者。它是世界上第二大宗教，有18亿追随者，占世界人口的24.1％，被称为穆斯林。穆斯林占49个国家人口的绝大多数。&lt;br /&gt;
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Islam is an Abrahamic monotheistic religion teaching that Muhammad is the final and ultimate messenger of God. It is the world's second-largest religion with 1.8 billion followers or 24.1% of the world's population, known as Muslims. Muslims make up a majority of the population in 49 countries. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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Islam, as an Abrahamic monotheistic religion, teaches people that Muhammad is the ultimate messenger of God. As the world's second-largest religion, it has 1.8 billion followers, accounting for 24.1% of the world's population, known as Muslims. Muslims make up a majority of the population in 49 countries.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:51, 9 December 2020 (UTC)&lt;br /&gt;
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4-基督教是一种拿撒勒人耶稣的生活和教导为基础的亚伯拉罕一神教。它的信徒被称为基督徒，他们相信耶稣是基督，弥赛亚的到来是在希伯来圣经中被预言的，该圣经在基督教中被称为旧约，并在新约中被记载。&lt;br /&gt;
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Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus of Nazareth. Its adherents, known as Christians, believe that Jesus is the Christ, whose coming as the Messiah was prophesied in the Hebrew Bible, called the Old Testament in Christianity, and chronicled in the New Testament.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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==Pingki, Tanchangya==&lt;br /&gt;
1.佛教由Suddhadhon和Rani Mahamaya的儿子Siddhartha Gautama于公元前6日在印度（菩提伽耶）建立。&lt;br /&gt;
Buddhism was founded in india (Bodh Gaya) in 6th BC by Siddhartha Gautama son of Suddhadhan and Rani Mahamaya.&lt;br /&gt;
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2.大乘佛教是由中国最大的民族汉朝传入的。&lt;br /&gt;
Mahayana Buddhism was introduced by the Han Dynasty, the largest ethnic group in china.&lt;br /&gt;
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3.小乘佛教是公元前9世纪从缅甸传入的。&lt;br /&gt;
Hinayana Buddhism was introduced from Burma, in 9th century BC.&lt;br /&gt;
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4.喇嘛教是藏族土著宗教引入的一种佛教形式。&lt;br /&gt;
Lamaism is a form of Buddhism introduces by indigenous Tibetan religion.&lt;br /&gt;
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5.道教是最初来自中国人民的唯一宗教。 它起源于顺帝皇帝统治时期的汉朝。&lt;br /&gt;
Taoism is the only religion originally came from Chinese people. It originated of the Han dynasty during the reign of Emperor Shundi.&lt;br /&gt;
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6.伊斯兰教由阿拉伯先知穆罕默德创立。 对于具有伊斯兰信仰的穆斯林人民来说，只有一位真主真主。&lt;br /&gt;
Islam was founded by the Arab prophet Muhammad.  For Muslim people with Islamic faith, there is only one Allah.&lt;br /&gt;
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7.基督教起源于耶稣的事奉，犹太人的老师和治疗者。 基督教是世界上最大的宗教，约有21亿追随者。&lt;br /&gt;
Christianity originated from the ministry of Jesus, the teacher and healer of the Jews.  Christianity is the largest religion in the world, with approximately 2.1 billion followers.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 19:22, 12 December 2020 (UTC)&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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The spread of Buddhism to Asian countries can be divided into two routes: in its south direction, it was spread to Sri Lanka at first, then from Sri lanka to Myanmar, Thailand, Cambodia and Laos and other countries. In its north direction, it was spread to China via Pamir Plateau and then from China to the North Korea, Japan, Vietnam and other countries.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。&lt;br /&gt;
Among the five religions of China, Daoism is the only one that originated from China and established by the Chinese. That’s why it is called indigenous religion. Daoism has had profound impact on ancient China’s politics, economic and culture and was one of the three spiritual pillars of the ruling class. After the founding of People’s Republic of China, Daoism was revitalized through democratic reform in religions system and started to set out on the path of adapting to socialist society.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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Among the five religions of China, Daoism is the only one that originated from China and established by the Chinese， thus being called indigenous religion. Daoism has had profound impact on ancient China’s politics, economy and culture and was one of the three spiritual pillars of the ruling class. After the founding of People’s Republic of China, Daoism was revitalized through democratic reform in religions system and started to set out on the path of adapting to socialist society.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:22, 13 December 2020 (UTC)&lt;br /&gt;
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3.穆罕默德早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。&lt;br /&gt;
When he was little, Muhammad dropped out of school and herded animals for people. At the age of 12, he followed his uncle and caravan of merchants to do business in areas such as Syria, Palestine, Mediterranean East Coast, where he had extensive contact with and witnessed social conditions of the Arabian Peninsula and Syria region, and learned about the primitive religions of Peninsula, Judaism and Christianity. All these provided a great amount of social knowledge and religious materials to his preach afterwards.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。&lt;br /&gt;
Generally speaking, Christians think that they derive their basic doctrines from the Bible. The historical churches have made many concise summaries of the basic doctrines in the form of creeds, tenets, confessions, etc. , which are seen as sources of doctrines by scholars studying doctrines. In addition, many theologians throughout the ages have attempted to explain and distinguish key points of beliefs of Christian faith in the light of the ideas of their time.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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1. 佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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The spread of Buddhism to Asia can be divided into two routes: Southward to Sri Lanka, then from Sri Lanka to Burma, Thailand, Cambodia, Laos, and other countries. In the north, Buddhism spread to China via the Pamir High Plain, and then from China to Korea, Japan, Vietnam, and other countries.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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2. 新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。&lt;br /&gt;
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After the founding of New China, some of the unreasonable systems and bad habits of Taoism in the old society were reformed, and Taoism was given a new face. The founding of the Chinese Taoist Association brought about a great union of Taoists throughout the country, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by the Anti-Rightist Struggle, the Great Leap Forward, the Communization of the People's Republics and other political movements.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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3. 穆罕默德是一位杰出的历史人物。生于麦加城古莱什部落哈希姆家族。他自幼父母双亡，由祖父和伯父抚养。早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。&lt;br /&gt;
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Muhammad is an outstanding historical figure. He was born into the H1ashemite family of the Quraysh tribe in the city of Mecca. His parents died at an early age and he was raised by his grandfather and uncle. At the age of 12, he followed his uncle and his caravan to Syria, Palestine and the eastern shore of the Mediterranean Sea, where he was exposed to and witnessed the social conditions in the Arabian Peninsula and Syria, and learned about the primitive religions of the Peninsula, Judaism and Christianity, which provided him with a great deal of social knowledge and religious materials for his later missionary activities.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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4. 宗教改革运动直接的导火线是教宗利奥十世以修建罗马圣彼得大教堂为名，于1517年派多明我会修士台彻尔到德国去兜售赎罪券，此事激起极大反感，据传马丁·路德于同年10月31日在维滕贝格教堂门前张贴反对兜售赎罪券的《九十五条论纲》,揭开这场宗教改革运动的序幕。&lt;br /&gt;
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The direct trigger for the Reformation movement was Pope Leo X's sending of the Dominican friar Thacher to Germany in 1517 to sell atonement tickets under the guise of building St. Peter's Basilica in Rome, which aroused such disgust that Martin Luther is said to have opened the Reformation movement by posting a &amp;quot;95 Theses&amp;quot; against the sale of atonement tickets in front of the Wittenberg church on October 31 of the same year.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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1.佛教发源于印度，其後能在中国弘传生根，便是通过经典的翻译。从东汉末年到唐代中叶，译经事业由初创到隆盛，历八百年之久。中国佛教译经事业的历时久远，可说是世界文化史上首屈一指的大业，而所译经论卷帙的庞复，诚为世界文化的瑰宝。&lt;br /&gt;
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Buddhism originated in India, and later took root in China through the translation of the classics. From the end of the Eastern Han Dynasty to the middle of the Tang Dynasty, the translation of scriptures lasted for 800 years from its inception to its flourishing. The long history of Chinese Buddhist sutra translation is one of the greatest in the history of world culture, and the volume of sutras translated is a treasure of world culture.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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2.新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。&lt;br /&gt;
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After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from a regional Arab mono-ethnic religion to a world-wide multi-ethnic religion is the result of the widespread spread of the Arab Islamic countries through continuous foreign expansion, business contacts, cultural exchanges, and the sending of missionaries to various parts of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。&lt;br /&gt;
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Christianity is generally believed to derive its basic doctrines from the Bible. The historical Church has given many concise summaries of the basic doctrines of Christianity in the form of creeds, creeds, confessions, etc., which are also regarded as the source of doctrine by scholars studying doctrine today.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
1. 佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.&lt;br /&gt;
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2. 道教在中国发展的几千年来,形成了自己特有的文化.道教文化极其高雅,极其通俗。亦其中一部分已演化为民间世俗，成为劳动群众精神生活的组成部分。&lt;br /&gt;
With the development of Taoism in China for thousands of years, it has formed its own unique culture, which is extremely elegant and popular. Some of them have evolved into folk customs and become part of the spiritual life of the working people.&lt;br /&gt;
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Taoism has developed its own unique culture in China for thousands of years. Taoism culture is extremely elegant and popular. Part of it has evolved into folk and secular, becoming a part of the spiritual life of the working people.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:44, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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3. 伊斯兰教的兴起，是阿拉伯半岛各部落要求改变社会经济状况和实现政治统一的反映。穆罕默德顺应了历史发展的需要，创传伊斯兰教，在宗教革命的旗帜下，领导了阿拉伯的社会变革运动，统一了阿拉伯半岛。&lt;br /&gt;
The rise of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their social and economic conditions and achieve political unity. Muhammad complied with the needs of historical development, created and spread Islam. Under the banner of religious revolution, he led the Arab social change movement and unified the Arabian Peninsula.&lt;br /&gt;
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The rise of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their socio-economic conditions and achieve political unity. Muhammad conformed to the needs of historical development, created Islam, led the Arab social transformation movement under the banner of religious revolution, and unified the Arabian Peninsula.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:44, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4. 基督宗教发端于公元1世纪罗马帝国统治下巴勒斯坦地区的犹太团体。1至5世纪是基督宗教创立并从以色列传向希腊罗马文化区域的时期，是基督宗教发展的早期阶段，是使徒和早期教父建立基督宗教基本教义和神学学说的时期。这一时期常被称为基督宗教发展上的第一个阶段。&lt;br /&gt;
Christianity originated in the Jewish community in Palestine under the rule of Roman Empire in the first century. From the 1st to the 5th century, Christianity was founded and spread from Israel to the Greek and Roman cultural areas. It was the early stage of the development of Christianity. It was the period when the apostles and early fathers established the basic doctrines and theological theories of Christianity. This period is often called the first stage in the development of Christianity.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:25, 12 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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1.由于传入的时间、途径、地区和民族文化、社会历史背景的不同，中国佛教形成三大系，即汉传佛教（汉语系）、藏传佛教（藏语系）和云南地区 [1]  上座部佛教（巴利语系）。&lt;br /&gt;
As a result of differences in time, route, region, ethnic culture, and socio-historical background, Chinese Buddhism has formed three major lineages, namely, Han Buddhism (Chinese), Tibetan Buddhism (Tibetan), and Shangban Buddhism (Pali) in Yunnan.&lt;br /&gt;
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As a result of differences in time, routes, region, ethnic culture, and socio-historical background, Chinese Buddhism has formed three major lineages, namely, Han Buddhism (Chinese), Tibetan Buddhism (Tibetan), and Shangban Buddhism (Pali) in Yunnan.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:37, 12 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。道教认为道可以修得，修炼的目的是得道成仙，最终目标是形神俱妙，与道合真。&lt;br /&gt;
Taoism inherits and develops the ideas of the pre-Qin Taoists, taking &amp;quot;Tao&amp;quot; as the highest belief, from which the highest classics, the highest Taoist techniques and the highest gods evolve, building a huge system of classical Taoism and immortality. Taoism believes that Tao can be cultivated, and that the purpose of cultivation is to attain immortality, with the ultimate goal of having both form and spirit, and being in harmony with Tao.&lt;br /&gt;
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3.全世界穆斯林约有16亿人口（2018年），占同期世界人口总数的23.4％。在亚非40多个伊斯兰国家中，穆斯林占全国总人口的大多数。一些国家将伊斯兰教定为国教。&lt;br /&gt;
There are approximately 1.6 billion Muslims in the world (2018), representing 23.4% of the world's population over the same period. In more than 40 Islamic countries in Asia and Africa, Muslims make up the majority of the total population. Some countries have made Islam the state religion.&lt;br /&gt;
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4.基督教一般认为，上帝的三位一体：基督教作为一神论的特色是基督教的神是“三位一体”的神，同一个上帝具有三个位格：圣父、圣子和圣灵。&lt;br /&gt;
Christianity generally holds that there is a trinity of God: Christianity as monotheism is characterized by the fact that the Christian God is a &amp;quot;triune&amp;quot; God, and that the same God has three persons: the Father, the Son, and the Holy Spirit.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:43, 9 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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1.宗教是人类社会发展到一定历史阶段出现的一种文化现象，属于社会特殊意识形态。&lt;br /&gt;
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1.Religion is a kind of cultural phenomenon that appears when human society develops to a certain historical stage, and it is a special social ideology.&lt;br /&gt;
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1. Religion is a kind of cultural phenomenon in the development of human society at a certain historical stage, which belongs to the special ideology of society.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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Religion is a kind of cultural phenomenon in the development of human society at a certain historical stage, belonging to a special ideology of society.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:21, 12 December 2020 (UTC)&lt;br /&gt;
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2.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。伊斯兰系阿拉伯语音译，原意为“顺从”“和平”。信奉伊斯兰教的人统称为“穆斯林”(意为“顺从者”)。&lt;br /&gt;
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2.Islam is one of three major religions in the world together with Buddhism and Christianity.It is an Arabic word meaning &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot;. People who have a religious belief of Islam are called &amp;quot;Muslims&amp;quot; (meaning &amp;quot;obedient&amp;quot;).&lt;br /&gt;
2. Islam, together with Buddhism and Christianity, is one of the world's three major religions. Islam is transliteration of Arabic and its original meaning is &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot;. People who believe in Islam are collectively referred to as &amp;quot;Muslims&amp;quot; (meaning &amp;quot;followers&amp;quot;).--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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3.天主教强调罪与罚，天堂与地狱；基督教强调因信称义，和神之间的亲密关系，信奉耶稣。&lt;br /&gt;
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3.Catholicism emphasizes sins and punishment,heaven and hell,while Christianism emphasizes honesty,intergrity,affinity of god ,and the firm belief of Jesus.&lt;br /&gt;
3. Catholicism emphasizes sin and punishment, heaven and hell; Christianity underlines righteousness by faith, close relationship with God, and believes in Jesus.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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4.虽然学者们对确切的日期争论不休，但许多人都认为，释迦牟尼可能出生于公元前490年左右的印度北部（印度年表将其出生时间定为公元前448年）。他的父母属于刹帝利种姓，他的父亲是一位受人尊敬的首领。他虽然比较富有，但从小就接触到了人间疾苦。&lt;br /&gt;
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4.While scholars debate the exact date, many agree that Siddhartha Gautama is probably born around 490 BCE in northern India (Indian chronology dates his birth to 448 BCE). His parents belong to the Shakya caste, and his father is a respected head of the community. Although he is relatively wealthy, Gautama is exposed to human suffering from an early age.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 09:13, 11 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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4. Although scholars have been arguing about the exact date, many people believe that Sakyamuni may have been born in northern India around 490 B.C. (the Indian chronology sets his date of birth as 448 BC). His parents belonged to the shatiri caste, and his father was a respected leader. Although he is relatively rich, he has been exposed to human suffering since childhood.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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1.Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。&lt;br /&gt;
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2.As a religious entity, Taoism not only has its unique classic doctrines, fairy beliefs and ritual activities, but also its religious inheritance, religious group organization, discipline system, and religious activities venues.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuanngling&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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3.Islam developed from a single ethnic religion in The Arab region to a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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4.1至5世纪是基督宗教创立并从以色列传向希腊罗马文化区域的时期，是基督宗教发展的早期阶段，是使徒和早期教父建立基督宗教基本教义和神学学说的时期。&lt;br /&gt;
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4.The first to the fifth centuries were the period in which Christianity was founded and spread from Israel to the Greco-Roman cultural regions. It was the early stage in the development of Christianity and the period in which the apostles and early fathers established the basic doctrines and theology of Christianity.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
1. 峨眉山高出五岳、秀甲天下，山势雄伟、气象万千，素有“一山有四季，十里不同天”之妙喻。集自然风光与佛教文化为一体，著名的旅游胜地和佛教名山，1996年12月6日被列入《世界文化与自然遗产名录》。&lt;br /&gt;
Higher than any of the five great mountains of China, the awe-inspiring, majestic and picturesque Mount Emei is the perfect place to experience all four seasons in one day. Because of its natural beauty and Buddhist cultural heritage, Mount Emei, a tourist destination and a noteworthy Buddhist mountain, was listed as one of UNESCO’s World Natural and Cultural Heritages sites on Dec.6, 1996.&lt;br /&gt;
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2. 穆罕默德是一位杰出的历史人物。生于麦加城古莱什部落哈希姆家族。他自幼父母双亡，由祖父和伯父抚养。早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。&lt;br /&gt;
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Muhammad is an outstanding historical figure. Born into the Hashemite family of the Quraysh tribe in the city of Mecca , he was raised by his grandfather and uncle because his parents died when he was young . In his early years, he dropped out of school to graze for someone.At the age of 12, he followed his uncle and a caravan of merchants to Syria, Palestine and the eastern coast of the Mediterranean Sea, where he had extensive contact with and witnessed the social conditions of the Arabian Peninsula and Syria, and learned about the primitive religions of the Peninsula, Judaism and Christianity, which provided him with a great deal of social knowledge and religious materials for his later missionary activities.&lt;br /&gt;
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3. 天主教是基督教的一个派别，和东正教、新教并称基督教三大教派。亦称“公教”，有时也被称为“旧教”以区分于基督教的新教。其领导中心设在梵蒂冈，首脑是教皇，掌握世界各地的传教事业，是大部分的天主教徒的精神领袖。&lt;br /&gt;
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Catholicism is one of the three major Christian denominations, along with the Orthodox and Protestant. It is also known as the &amp;quot;Catholic Church&amp;quot; and sometimes as the &amp;quot;Old Church&amp;quot; in order to be distinguished from Protestant Christianity. Its leadership is centered in the Vatican and is headed by the Pope, who is in charge of missionary work around the world and is the spiritual leader of most Catholics.&lt;br /&gt;
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4.新中国成立后，广大道教徒拥护社会主义制度，拥护共产党的领导。他们自发成立学习小组，开展爱国主义、社会主义和时事政治的学习，发表《反帝爱国宣言》，开展捐献运动支援抗美援朝。&lt;br /&gt;
After the founding of People’s Republic of China,the majority of Taoists embraced the socialist system and the leadership of the Communist Party. They set up study groups on their own initiative, conducted studies on the doctrine of patriotism and socialism and current affairs and politics, issued the Anti-Imperialist Patriotic Manifesto, and carried out donation campaigns to support the Korean War.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:58, 11 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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&amp;lt;math&amp;gt;Insert formula here&amp;lt;/math&amp;gt;&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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1.佛教信徒依照悉达多所悟到修行方法，发现生命和宇宙的真相，最终超越生死和苦、断尽一切烦恼，得到究竟解脱。&lt;br /&gt;
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Based on Siddhartha's enlightenment, Buddhist believers hope to discover the truth of life and the universe, and finally be free from all the troubles brought by life and death. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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2.在五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
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Among the five major religions, Taoism is the only one that originated in China and was founded by the Chinese, so it is also regarded as China's native religion.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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Taoism is the only one that originated in China and was founded by the Chinese among the five major religions, so it is also known as the native religion.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:27, 12 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam is the fruit of the wide spread of Islamic countries through the continuous aggression and expansion, business contacts, cultural exchanges, and the dispatch of missionaries all over the world. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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4.耶稣为救赎人类，被钉十字架而死，故尊十字架为信仰的标记。&lt;br /&gt;
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Jesus died by crucifixion for the redemption of mankind, so Christians honored the cross as a sign of faith.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
1. 结束南北分裂局面而开展的隋唐，是中国历史上政治、经济、文化最强盛的朝代，也是中国佛教史上经典翻译、宗派竞立的巅峰时期，其影响不仅深入中国各阶层，而且远播至韩国(高丽、百济、新罗)、日本、越南，开启各国佛教的灿烂新页。&lt;br /&gt;
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1. The Sui and Tang dynasties, which ended the division between the north and the south, were the most politically, economically and culturally powerful dynasties in Chinese history, also the peak period of classical translations and sects in the history of Chinese Buddhism, whose influence spread not only to all classes in China, but also to Korea (Koguryo, Silla and Paekche), Japan and Vietnam, opening a new page of Buddhism development in all countries.&lt;br /&gt;
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2. 隋唐至北宋时期，由于统治阶级的尊崇，道教极为兴盛，社会影响极大，道教的哲学、养生术、符咒法、科仪规章也更为完善。&lt;br /&gt;
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2. From the Sui and Tang dynasties to the Northern Song dynasties, Taoism flourished due to the respect of the ruling class, which influenced the society a lot. Besides, its philosophy, health preservation, spell and regulations were further implemented. &lt;br /&gt;
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3. 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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3. Islam was developed from a mono-ethnic Arab religion to a world-wide multi-ethnic religion, due to the widespread spread of Islam in Arab countries through continuous expansion, business, cultural exchanges, and the sending of missionaries to various parts of the world.&lt;br /&gt;
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4. 基督教新教主要宗派包括信义宗、长老宗、圣公宗、浸礼宗、公理宗、卫斯理宗等。除这些较大派别外，新教还分化为众多的小教派和教会团体。&lt;br /&gt;
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4. The main denominations of Protestant Christianity include Lutheranism, Presbyterianism, Anglicanism, Baptism, Congregationalism, Wesleyanism, and so on. In addition to these large denominations, Protestantism is also divided into numerous smaller denominations and church groups.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:34, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
1.佛教的宇宙观是缘起论，即它认为--切事物都是因缘合和而起的。就认识问题而言，佛教认为，认识的成立必须具备三个因素:认识的器官或机能(根)、客观的对象(境)和主观的认识。&lt;br /&gt;
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Buddhism's world outlook is the theory of origin, that is, it believes that everything is the cause and effect.In terms of cognition, Buddhism believes that there must be three factors for the establishment of cognition: the organ or function of cognition (root), objective object (context) and subjective cognition.&lt;br /&gt;
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2.伊斯兰国家：是指在全国总人口中大部分人都信奉伊斯兰教的国家。据有关资料介绍，在全世界180多个国家中，有69个伊斯兰国家，占全世界国家总数三分之一以上。&lt;br /&gt;
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A country in which the majority of the population of the country believes in Islam.According to relevant information, there are 69 Islamic countries out of more than 180 countries in the world, accounting for more than one third of the total number of countries in the world.&lt;br /&gt;
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Islamic countries refer to countries in which the majority of the population believe in Islam. According to relevant data, there are 69 Islamic countries out of 180 plus countries in the world, accounting for more than one third of the total number around the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:11, 11 December 2020 (UTC)&lt;br /&gt;
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3.基督教信仰的对象为上帝，上帝(天主)是基督教的最高神。基督教宣称上帝是天地的主宰，是天地万物的唯一创造者。上帝虽然只有一个，但包括圣父、圣子、圣灵三个位格，三位一体，同受拜敬。&lt;br /&gt;
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The object of a Christian belief is God, the supreme God of Christianity.Christianity claims that God is the master of heaven and earth and the sole creator of all things.Although God has only one, it includes the Father, the Son, and the Holy Spirit.&lt;br /&gt;
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4.道教是中国土生土长的宗教，它的理论广泛容纳了中国古代社会的宗教意识和学术思想，是古代宗教、民间巫术、神仙方术、阴阳五行及道家思想等汇聚、融合的产物，带着鲜明的中国特色。&lt;br /&gt;
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Taoism is a religion born and bred in China . Its theory widely contains the religious consciousness and academic thought of ancient Chinese society . It is the product of the convergence and fusion of ancient religion, folk witchcraft, celestial magic, yin and yang, five elements and Taoist thought.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:53, 9 December 2020 (UTC)&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
1、佛教是一种约有三亿人信仰的世界性宗教。这个词来自于'菩堤'，意思是'觉悟' 。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的。&lt;br /&gt;
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Buddhism is a religion to about 300 million people around the world. The word comes from 'budhi', 'to awaken'. It originates from about 2,500 years ago when Siddhartha Gotama, known as the Buddha, was himself awakened (enlightened) at the age of 35.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。&lt;br /&gt;
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Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the  Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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3、“伊斯兰”是阿拉伯语音译，本意为“顺服”。从宗教意义上讲，“伊斯兰”是指一种顺服惟一的主宰——安拉的旨意和戒律的宗教。其宗教徒称为“穆斯林”，意为顺服安拉意志的人。&lt;br /&gt;
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&amp;quot;Islam&amp;quot; is Arabic transliteration, intended for the&amp;quot; obedience&amp;quot;. From the religious sense,&amp;quot; Islam&amp;quot; refers to a kind of obedience -- only to dominate the will of Allah and the precepts of religion. Its religious believers are known as&amp;quot; Muslim&amp;quot;, meaning to the will of allah. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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4、基督教根源于犹太教，公元1世纪中叶耶稣创立。135年从犹太教中分裂出来成为独立的宗教。早期基督教曾受到罗马皇帝的残酷迫害和镇压。&lt;br /&gt;
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Christianity is rooted in Judaism and founded by Jesus in the middle of 1st century. And it split from Judaism as an independent religion in 135 years. Early Christianity had been subjected to cruel persecution and repression of Roman emperors.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)&lt;br /&gt;
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Christianity is rooted in Judaism and founded by Jesus in the middle of 1st century. And it was split from Judaism as an independent religion in 135. Early Christianity had been subjected to cruel persecution and repression of Roman emperors.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:23, 13 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
1. 公元313年，罗马帝国皇帝君士坦丁一世发布“米兰敕令”，宣布基督教可与所有其他宗教同享自由，不受歧视。从此基督教成为官方认可的合法宗教。&lt;br /&gt;
In 313, the Roman Emperor Constantine I issued &amp;quot;Edict of Milan&amp;quot;, declared common freedom with Christianity and all other religions, without discrimination. Since then, Christianity became an official recognition of the legitimate religion.  &lt;br /&gt;
2. l6 世纪，随着西欧民族国家和市民阶级的兴起，爆发了反对罗马教皇封建统治的宗教改革运动，后陆续分化出脱离天主教会的一些新宗派，称为“新教”。所以，基督教是天主教、东正教和新教的总称。&lt;br /&gt;
In the 16 century, with the rise of Western European nation-state and public class, Rome, the Reformation movement broke out against rule of the Pope. After these, some of the new sect, known as the &amp;quot;Protestant&amp;quot;, were split from the Catholic Church. So, Christianity is general of Catholic, Orthodox and Protestan.&lt;br /&gt;
3. 佛教是一种约有三亿人信仰的世界性宗教。这个词来自于'菩堤’，意思是'觉悟’。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的&lt;br /&gt;
Buddhism is a religion to about 300 million people around the world. The word comes from '&amp;quot;budhi', 'to awaken'. It has its origins about 2,500 years ago when Siddhartha Gotama, known as the Buddha, was himself awakened (enlightened) at the age of35.&lt;br /&gt;
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:12, 12 December 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。&lt;br /&gt;
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The spread of Buddhism throughout Asia can be roughly divided into two routes: the south route, to Sri Lanka first, then from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries.&lt;br /&gt;
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2.道教界积极开展公益慈善活动，在长江流域特大洪水、汶川地震等重大灾难发生后，都及时组织祈福法会和捐款捐物活动，以道教特有方式为救灾工作作出贡献。&lt;br /&gt;
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Taoism has actively carried out public welfare and charity activities. After the catastrophic floods in the Yangtze River basin and the Wenchuan earthquake, Taoism organized prayer meetings and donation activities in a timely manner, contributing to the relief work in a unique Daoist way.&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam developed from a single ethnic religion in The Arab region to a multi-ethnic religion in the world, which was the product of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.&lt;br /&gt;
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4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括。&lt;br /&gt;
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Christianity is generally believed to originate its basic teachings from the Bible. The church in history has made many essential summaries of the basic tenets of Christianity in various forms, such as creed and epistle.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:35, 11 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。&lt;br /&gt;
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Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion. Taoism had a profound impact on the politics, economy and culture of ancient China, and was one of the three spiritual pillars of the ruling class. After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教的兴起，是阿拉伯半岛各部落要求改变社会经济状况和实现政治统一的反映。穆罕默德顺应了历史发展的需要，创传伊斯兰教，在宗教革命的旗帜下，领导了阿拉伯的社会变革运动，统一了阿拉伯半岛。&lt;br /&gt;
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The birth of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their social and economic conditions and achieve political unity. Muhammad complied with the needs of historical development, created and spread Islam. Under the banner of religious revolution, he led the Arab social change movement and unified the Arabian Peninsula.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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4.基督宗教是一个一神论的宗教，指所有相信主耶稣基督为救主的教会。虽然耶稣基督所建立的是一个合一的基督教会,但基督教在历史进程中却分化为许多派别，主要有天主教、东正教、新教三大传统教派。&lt;br /&gt;
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Christianity is a monotheistic religion, which refers to all the churches that believe in the Lord Jesus Christ as the Savior. Although the church established by Jesus Christ is a United Christian Church, Christianity has been divided into many factions in the historical process, including three traditional sects, namely Catholicism, Orthodox Church and Protestantism.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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After the spread of Buddhism to every part of the world, due to the locally social, political and cultural influence, its form and content have changed accordingly, thus giving birth to many sects.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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After its spreading to other regions, forms and contents saw changes and various sects were formed. The reason is that Buddhism was influenced by different local social, political and cultural environments. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:50, 9 December 2020 (UTC)&lt;br /&gt;
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明清两代，随着中国封建社会进入晚期，道教发展陷入停滞僵化。近代中国道教承明清余绪，除个别时期，一直处于低谷。&lt;br /&gt;
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In the Ming and Qing dynasties, with the entering of the late period of feudal society in China, the development of Taoism stagnated and ossified. Taoism in modern China, inheriting fruit in the Ming and Qing Dynasties, except for a few periods, has been at a low ebb.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Developing from a single ethnic religion in the Arab region, Islam finally became a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。&lt;br /&gt;
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It is generally believed in Christianity that its basic teachings derived from the ''Bible''. The church in history has made many essential summaries of the basic doctrines of Christianity in various forms, such as creed and epistles, which are also regarded as the source of the doctrines by scholars studying the doctrines today.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)&lt;br /&gt;
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It is generally believed in Christianity that its basic teachings derived from the ''Bible''. The churches in history have made many summaries of the basic doctrines of Christianity in various forms, such as creed and epistles, which are also regarded as the source of the doctrines studyed today.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:50, 9 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
1.与世界其他主要宗教不同的是，佛教是唯一基于全人类所共知的苦难而产生发展起来的。佛教使哲学和宗教思想发生了根本转变。&lt;br /&gt;
Uniquely among the great world religions, Buddhism is rooted only in the universal experience of suffering known to all human beings. Buddhism have revolutionized philosophical and religious thought.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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2.儒道两家各有偏重又相互补充，相反相成地融合为共同的和谐美的思想。&lt;br /&gt;
Confucianism and Daoism oppose and complement and fuse into the thought of beauty of harmony.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。截至到2009年底，世界人口约68亿人，穆斯林总人数是15.7亿，分布在204个国家和地区，占全世界的百分之二十三。&lt;br /&gt;
Islam is one of the world’s religious, with Buddhism and Christianity as the three major religions in the world. By the end of 2009, the world population of 6 billion 800 million people, the total number of Muslims was 1 million 570 million, distributed in 204 countries and regions, accounting for twenty-three percent of the world.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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4.基督教对西方文明产生了非常大的影响，自由、平等、博爱、为中心的人文主义传统，使得“生而平等”观点深入人心，成为《独立宣言》《人权宣言》的核心，成为后来西方民主政治的一种长远的精神推动力。&lt;br /&gt;
Christianity had a very big impact to Western civilization. Humanist tradition, as the center of freedom, equality, and fraternity, enjoyed “born equal” popular support, became heart of “Declaration of Independence,” “Declaration of Human Rights”, and a long-term spiritual driving force of the Western democratic. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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1.佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。&lt;br /&gt;
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After Buddhism spread to each region, due to local social, political, and cultural influences, there were corresponding changes in form and content, resulting in the formation of many sects.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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After Buddhism spread to every region, due to the influence of local society, politics, and culture, the form and content have changed accordingly, forming many sects.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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After Buddhism spread to every region, due to the influence of local social and political culture, its form and content changed accordingly, and many sects formed--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:31, 11 December 2020 (UTC)&lt;br /&gt;
2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Since the reform and opening up, under the guidance of the party and government’s religious policies in the new era, Taoism in China has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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Since the reform and opening up, under the guidance of the Party and government's new religious policy, Chinese Taoism has taken on an unprecedented new look, making positive contributions to promoting economic development, social harmony, the unification of the motherland, and world peace.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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Islam has developed from a regional single-ethnic religion in the Arab region to a religion of multi-ethnic beliefs in the world. It is widely spread by Arab Islamic countries through continuous expansion, business exchanges, cultural exchanges, and missions to the world. the result of.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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4.虽然耶稣基督所建立的是一个合一的基督教会,但基督教在历史进程中却分化为许多派别，2013年全世界范围当中有超过一万个基督教派，主流的派别主要有天主教、基督新教、东正教三大传统教派，以及一些在信仰人数上虽不如传统教派多，但也有了相当的规模的非传统教派，如:摩门教。&lt;br /&gt;
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Although Jesus Christ established a united Christian church, Christianity has divided into many sects in the course of history. In 2013, there were more than 10,000 Christian sects worldwide. The mainstream sects are mainly Catholicism, Protestantism, The three traditional sects of Eastern Orthodox Church, and some non-traditional sects that are not as large as traditional sects in the number of believers, such as Mormonism.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)&lt;br /&gt;
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Although Jesus Christ established a unified Christian Church, Christianity has been divided into many denominations over the course of history; in 2013 there were more than 10,000 Christian denominations worldwide, with the dominant denominations being the three traditional denominations of Catholicism, Protestantism, and Orthodoxy, as well as some non-traditional denominations that are not as numerous as the traditional denominations, but have grown in size, such as Mormonism. --[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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1. 目前佛教已传播到世界各大洲。但主要仍集中在东亚和东南亚一带，这个地区的佛教信徒人数远远超过其他宗教信徒。&lt;br /&gt;
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At this moment, Buddhism has spread to all continents of the world. However, it is still concentrated in East Asia and Southeast Asia, where the number of Buddhists is far more than that of other religions. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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2. 道教是我国土生土长的宗教，是在汉代黄老道家思想基础上，吸收古代神仙家的方术和民间巫术及鬼神信仰，于东汉末年形成的。&lt;br /&gt;
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Taoism, a native-born religion in China, was formed at the end of the Eastern Han Dynasty by absorbing the ancient alchemy, folk witchcraft and belief in ghosts and gods on the basis of Taoist thought of Huang Lao in Han Dynasty. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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3. 伊斯兰教有着一套具有自己从教特色的体系，它在神学信仰、政治主张、经济思想、道德规范等各方面所提倡的行为规范是每一个穆斯林都必须遵守的。&lt;br /&gt;
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Islam has a system with its own religious characteristics. Every Muslim must abide by the code of conduct it advocates in theological belief, political opinion, economic thought and moral standards. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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4. 天主教在教会体制上遵循“圣统制”，即各地的天主教会以罗马主教为尊，受罗马教宗管理，神权事务由罗马教宗授权，在天主教会看来，罗马教宗就是上帝在世的代表，是继承了耶稣门徒的传统，上帝授权他来管理教会。&lt;br /&gt;
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Catholicism follows the “Hierarchy” in its church system, that is, the Catholic churches everywhere respect the Bishop of Rome and are under the management of the Pope, and the theocracy affairs are authorized by the Pope. In the view of the Catholic Church, the Roman Pope is the representative of God in the world, inheriting the tradition of Jesus' disciples, and God authorized him to manage the church. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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玄奘少时家境贫困，跟着哥哥在洛阳净土寺，学习佛经。后来他从兰州出发，经河西走廊，到达瓜州，想要从那里出境，沿着我们现在所讲的“丝绸之路”去印度求法。&lt;br /&gt;
When he was young, Xuanzang came from a poor family and followed his brother to study Buddhist sutras in The Jingtui Temple in Luoyang. Later, he set out from Lanzhou and reached Guazhou through the Hexi Corridor. He wanted to leave from there and go to India to seek dharma along the Silk Road we now speak。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
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道教是中国的本土宗教，以历史唯物主义作为指导。道教从东汉诞生并演变，至近代大约有两千多年。&lt;br /&gt;
Taoism is the indigenous religion of China, which was guided by historical materialism from the birth and evolution of The Eastern Han Dynasty to the modern times over two thousand years--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
Islam&lt;br /&gt;
伊斯兰教主要分布地区有中东和北非等地。在我国，伊斯兰教也被称之为清真教。&lt;br /&gt;
Islam is mainly found in the Middle East and North Africa. It is also called “Qingzhen”in China。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
Christianity&lt;br /&gt;
基督教发源于巴勒斯坦地区犹太人社会，创始人是耶稣。基督教在人类的发展史上有着不可替代的作用，尤其是当今的西方社会，许多发达国家都以基督教文化为主导。&lt;br /&gt;
Christianity originated from the Jewish society in Palestine, and its founder was Jesus Christ. Christianity has played an irreplaceable role in the development history of mankind, especially in today's Western society, where many developed countries are dominated by Christian culture。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
1. 佛教四大名山闻名遐迩，鲜为人知的是中国还有一座山——终南山，堪称佛教诸宗的祖山，大乘佛教九宗中有六宗祖庭集于此处。佛教进入中国初期，并没有宗派之分，而当佛教走入山川形胜的终南秘境，仰对峰峦、俯拾河溪，却体会出更多佛法的真味。&lt;br /&gt;
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The four famous Buddhist mountains are well known. What is little known is that there is another mountain in China-Zhongnan Mountain, which can be called the ancestral mountain of all Buddhist sects. Six of the nine Mahayana Buddhist sects are gathered here. In the early days of Buddhism's entry into China, there was no sectarian distinction. However, when Buddhism entered the secret land of the south, where mountains and rivers prevailed, it realized more of the true flavor of Buddhism. &lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 15:01, 9 December 2020 (UTC)&lt;br /&gt;
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2. 道教深深扎根于民间，体现着百姓最朴素的信仰——衣食住行的每个诉求，都可以在道教神灵那里得以满足。在中国道教石窟中，你依然能感受到道教在中国人日常生活中的重要。&lt;br /&gt;
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Taoism is deeply rooted in the people and embodies the most simple belief of the people-every demand for food, clothing, housing and transportation can be satisfied by Taoist gods. In the Chinese Taoist grottoes, you can still feel the importance of Taoism in the daily life of the Chinese people. &lt;br /&gt;
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3. 清真寺是伊斯兰教进行宗教活动的中心，主要是供信徒礼拜之处。伊斯兰教，发源于阿拉伯半岛的麦加，信奉独一无二的造物主安拉，信徒被称作穆斯林。它和基督教一样，是外来的宗教。&lt;br /&gt;
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Mosque is the center of Islamic religious activities, mainly for believers to worship. Islam, which originated in Mecca on the Arabian Peninsula, believes in the unique Creator Allah and its followers are called Muslims. Like Christianity, it is a foreign religion. &lt;br /&gt;
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4. 以“耶稣基督”诞辰为记的圣诞节，是属于基督教的节日。这个现今世界上最大的宗教信仰，建立在一个丰满的神话体系上，在这些故事中，不仅有曲折动人的情节，还充满了爱与人情味儿。 &lt;br /&gt;
Christmas, which is marked by the birth of Jesus Christ, is a Christian festival. The largest religious belief in the world today is based on a full myth system. In these stories, there are not only tortuous and touching plots, but also full of love and human touch. &lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 15:01, 9 December 2020 (UTC)Zhang Weihong&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
1.佛教中国本土化在隋唐时期已初步完成，而儒、释、道三教的合流则在两宋时期。&lt;br /&gt;
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The localization of Buddhism in China has preliminarily finished in the Sui and Tang Dynasties, while the confluence of Confucianism, Buddhism and Taoism was in the Song Dynasty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC) &lt;br /&gt;
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The localization of Buddhism in China has preliminarily completed in the Sui and Tang Dynasties, while the confluence of Confucianism, Buddhism and Taoism was in the Song Dynasty.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:36, 11 December 2020 (UTC)&lt;br /&gt;
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2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Under the guidance of religious policy published by party and government in the new era, China’s Daoism has emerged an unprecedented new look since the reform and opening-up. It made positive contribution to promoting economic development, harmonious society, national unity and world peace.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教是科学的宗教，它鼓励人们通过真科学对宇宙、世界进行认识和思考，从而使信仰更加坚固。&lt;br /&gt;
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Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, making the belief more stable.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)&lt;br /&gt;
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Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, thus making the belief more stable.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:03, 10 December 2020 (UTC)&lt;br /&gt;
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Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, making their beliefs more stable.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:55, 13 December 2020 (UTC)&lt;br /&gt;
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4.在基督教早期阶段，教会曾实行财产共有，外界视其为一种秘密性的宗教组织。&lt;br /&gt;
In the early stage of Christianity, the church ever implemented the policy of common ownership. However, the outside world regarded it as a secret religious organization.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
公元前6世纪至前5世纪，佛教创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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In the 6th century BC or the 5th century BC, Buddhism was founded in ancient India. Since then, it has been widely spread in Asia and around the world, and has had a significant impact on the social, political and cultural life of many countries.&lt;br /&gt;
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道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。&lt;br /&gt;
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Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called the local religion.&lt;br /&gt;
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伊斯兰教公元七世纪由麦加人穆罕默德在阿拉伯半岛上首先兴起，公元7世纪中叶自西亚、中东传入中国。&lt;br /&gt;
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Islam first emerged on the Arabian Peninsula by Mecca, Muhammad, in the seventh century AD, and was introduced to China from West Asia and the Middle East in the middle of the seventh century.&lt;br /&gt;
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基督教是对奉耶稣基督为救世主的各教派统称，亦称基督宗教。基督教与佛教、伊斯兰教并称三大宗教。&lt;br /&gt;
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Christianity is the collective name for all denominations that hold Jesus Christ as the savior, also known as the Christian religion. Christianity, Buddhism, and Islam are called the three major religions.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 08:02, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。&lt;br /&gt;
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The spread of Buddhism throughout Asia can be roughly divided into two routes: southward to Sri Lanka first, and from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries. The northward spread to China via the Pamir Plateau, and then from China to Korea, Japan, Vietnam and other countries.&lt;br /&gt;
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2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。&lt;br /&gt;
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Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China, in an unprecedented new atmosphere, has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.&lt;br /&gt;
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3.伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响。&lt;br /&gt;
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Islam has a history of more than 1400 years since its inception. As a religious belief, ideology and cultural system, it has influenced and integrated with local traditional culture after it was introduced into various parts of the world. Under different historical conditions, it has influenced the social development, political structure, economic form, cultural fashion, ethics and morality, lifestyle of many countries and nationalities to varying degrees.&lt;br /&gt;
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4.基督宗教各派都信奉耶稣基督为救主，都以《圣经》，又称《新旧约全书》为经典，其中《新约》各章节都相同，而《旧约》有所不同，东正教和天主教的内容比新教（基督教）要多几章。&lt;br /&gt;
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All denominations of the Christian religion believe in Jesus Christ as their Savior, and all use the Bible, also known as the Old and New Testaments, as their classics, with all chapters of the New Testament being the same and the Old Testament being different as the Orthodox and Catholics having a few more chapters than the Protestants (Christianity).--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:09, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
1.佛教产生于印度,最迟于东汉明帝时期传入内地。在魏晋南北朝时期快速发展,基于佛教思想意识体系完备,中国皇帝大力支持和寺院经济基础雄厚等原因,逐渐在中国广泛流传。&lt;br /&gt;
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Buddhism grew out of India and was introduced to the mainland at least by the reign of the Ming emperor in the Eastern Han dynasty. In the Wei, Jin and Southern and Northern dynasties, Buddhism developed rapidly and spread extensively and gradually in China due to complete Buddhist ideology systems, great support from Chinese emperors and strong economic fundamentals of temples.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)&lt;br /&gt;
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Buddhism, emerging in India, was introduced to the mainland at least by the reign of the Ming emperor in the Eastern Han dynasty. In the Wei and Jin Dynasties, and Southern and Northern dynasties, Buddhism developed rapidly. With complete Buddhist ideology systems, great support from Chinese emperors and strong economic fundamentals of temples, it began to spreading extensively in China at that time.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:12, 12 December 2020 (UTC)&lt;br /&gt;
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2.经过一千多年发展,道教已经形成了系统的养生理论与操作方法,得到社会的一定认可。在养生旅游蓬勃发展的今天,道教养生旅游成为养生旅游的重要形式之一,但就目前国内道教养生旅游开发来看,多处景区对道教养生文化资源的开发还有待深入,养生旅游产品特色不足。&lt;br /&gt;
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After more than one thousand years of development, Taoism has formed its own systematic regiment and operational methods, which obtain certain approvals from the whole society. At present, with the booming development of wellness tourism, Taoism health tourism is one of the significant forms of health tourism. However, considering from the present development of domestic health tourism, many scenic spots still have a long way to go for developing Taoist health-keeping culture for lacking of characteristics of products.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教自唐朝传入中国,到明清时完成了中国化进程,形成了回族这一特殊的民族。&lt;br /&gt;
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Islam was introduced to China from the Tang dynasty and completed its process of Sinicization in the Ming and Qing dynasties, forming the Hui, such a special ethnic group.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)&lt;br /&gt;
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4.在世界基督教的历史中,依托于欧洲文明的西方基督教成为基督教史的主流,具有同样深厚渊源的东方基督教却在历史长河中湮没不闻。&lt;br /&gt;
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In the world history of Christianity, the western Christianity based on European civilizations has become the mainstream of the history of Christianity while the eastern Christianity possessing the same profound origin has disappeared in the history.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:58, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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1.佛教于公元前6世纪至前5世纪，释迦牟尼创建于古印度，以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。&lt;br /&gt;
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Buddhism was founded by Siddhartha Gautama in ancient India between the 6th and 5th centuries B.C. It spread widely throughout Asia and the rest of the world, and had a significant impact on the socio-political and cultural life of many countries.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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Buddhism was founded in ancient India from the 6th century BC to the 5th century BC by Siddhartha Gautama. After that, it spread widely in Asia and all over the world, and had a significant impact on the social, political and cultural life of many countries.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)&lt;br /&gt;
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2.道教是一种多神教，沿袭了中国古代对于日月、星辰、河海山岳以及祖先亡灵都奉祖的信仰习惯，形成了一个包括天神、地祗和人鬼的复杂的神灵系统。&lt;br /&gt;
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Taoism is a polytheistic religion, inheriting the ancient Chinese belief in the sun, moon, stars, rivers, oceans and mountains, as well as the spirits of ancestors and the dead, and has formed a complex system of gods and spirits, including the gods of heaven, earth, humans and ghosts.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。&lt;br /&gt;
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The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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Islam has developed from a regional single-ethnic religion in the Arab region to a religion of multi-ethnic beliefs in the world. It is widely spread by Arab Islamic countries through continuous expansion, business exchanges, cultural exchanges, and missions to the world. the result of.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)&lt;br /&gt;
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4.基督教文化是一种以基督教为其存在基础和凝聚精神的文化形态，包括其崇拜上帝和耶稣基督的宗教信仰体系，以及相关的精神价值和道德伦理观念。&lt;br /&gt;
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Christian culture is a cultural form that has Christianity as its foundation and unifying spirit, including its religious belief system of worshipping God and Jesus Christ, as well as the related spiritual values and moral and ethical concepts.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)&lt;br /&gt;
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Christian culture is a cultural form that takes Christianity as its basis of existence and a cohesive spirit, including its religious belief system of worshiping God and Jesus Christ, as well as related spiritual values and moral and ethical concepts.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
1.佛教经由两条路径传入中国，一支由古印度经西域传入中原地区，尔后传入朝鲜半岛、越南、日本等处，称北传佛教。另一支则由东南亚传至中国南方，为南传佛教，但其影响力不及于中原，因此并不被包括在汉传佛教中。&lt;br /&gt;
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Buddhism was introduced into China through two routes, one was introduced into the Central Plains from ancient India via the Western Regions, and then into the Korean Peninsula, Vietnam, Japan and other places, called Northern Buddhism. The other one was spread from Southeast Asia to southern China as Southern Buddhism, but its influence was not as great as that of the Central Plains, so it was not included in Chinese Buddhism.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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Buddhism was introduced to China through two routes: one was from ancient India to the Central Plains via the Western region, and then to the Korean Peninsula, Vietnam, and Japan, called Northern Buddhism. The other one came from Southeast Asia to Southern China, called Southern Buddhism, but its influence was not as good as in the Central Plains, so it was not included in the Chinese Buddhism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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2.开光是道教特有的一种宗教科仪，道教认为凡是所塑的神像都要经过一道程序，即装藏。&lt;br /&gt;
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Consecration is a religious ritual peculiar to Taoism. Taoism believes that all statues of gods must go through a process, which is to hide.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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Consecration (refers to invite benevolent spirit ) is a religious ritual unique to Taoism. Taoism believes that all statues of deities go through a process called ''zhuangzang'', which refers to a hole is left behind the statue and when consecrating, the monk will put scriptures, jewels, grains, and metal lungs and livers in and seal the hole. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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3.“伊斯兰”系阿拉伯语音译，意为“顺从”、“和平”，指顺从和信仰创造宇宙的独一无二的主宰安拉及其意志，信奉伊斯兰教的人统称为“穆斯林”，意为“顺从者”。&lt;br /&gt;
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&amp;quot;Islam&amp;quot; is an Arabic transliteration, meaning &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot;. It refers to obedience and belief in the unique ruler of Allah and its will that created the universe. People who believe in Islam are collectively referred to as &amp;quot;Muslims&amp;quot;, meaning &amp;quot;submissive &amp;quot;.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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&amp;quot;Islam&amp;quot; is a transliterated word of the Arabic, meaning &amp;quot;obedience&amp;quot; and &amp;quot;peace&amp;quot; which refers to obedience to and faith in Allah and his will, the unique master who created the universe. Those who believe in Islam are known as &amp;quot;Muslims&amp;quot;, meaning &amp;quot;the obedient&amp;quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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4.“基督”是希腊语的弥赛亚（救世主），当时在犹太人中传布着一种弥赛亚的预言，大致是说，犹太人将要出一个像古代名王大卫（公元前11世纪的一位犹太民族英雄，建立犹太王国，定都耶路撒冷）那样的民族救世主，实现“上帝的国”。&lt;br /&gt;
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&amp;quot;Christ&amp;quot; is the Greek Messiah (Savior). At that time, a Messianic prophecy was preached among the Jews. It roughly means that the Jews will have a national savior like the ancient king David (a Jewish national hero in the 11th century BC who established the Jewish kingdom and set the capital in Jerusalem), and realize the &amp;quot;kingdom of God&amp;quot;.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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&amp;quot;Christ&amp;quot; is the Greek word for Messiah (Savior). At that time, there was a Messianic prophecy spreading among the Jews that the Jews would have a national savior like the ancient king David (a Jewish national hero of the 11th century BC who founded the Jewish kingdom and set its capital in Jerusalem),and realize the &amp;quot;Kingdom of God&amp;quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)&lt;br /&gt;
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==Zubareva, Ekaterina==&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=111240</id>
		<title>20201215 cultexam 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=111240"/>
		<updated>2020-12-13T09:09:45Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Spring Festival Couplets - Cao Runxin 曹润鑫 */&lt;/p&gt;
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&lt;div&gt;*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei];  [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.&lt;br /&gt;
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'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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==Chinese Astrology - Alsied, Saffana==&lt;br /&gt;
&amp;quot;Chinese Astrology&amp;quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)&lt;br /&gt;
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===Text===&lt;br /&gt;
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===References===&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''References missing.'''&amp;lt;/span&amp;gt;&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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===Questions===&lt;br /&gt;
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===Answers===&lt;br /&gt;
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==Spring Festival Couplets - Cao Runxin 曹润鑫==&lt;br /&gt;
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]&lt;br /&gt;
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===Spring Festival Couplets===&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).&lt;br /&gt;
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Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).&lt;br /&gt;
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The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).&lt;br /&gt;
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There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).&lt;br /&gt;
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===References===&lt;br /&gt;
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*Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. ''汉字文化'' Chinese Character Culture (19) 34-35.&lt;br /&gt;
*Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. ''艺术品鉴'' Art Appreciation (24) 211-212.&lt;br /&gt;
*Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. ''民间文化论坛'' Folk Culture Forum (01) 75-83.&lt;br /&gt;
*Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. ''信阳师范学院学报(哲学社会科学版)'' Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.&lt;br /&gt;
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===Terms and Expressions ===&lt;br /&gt;
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 &lt;br /&gt;
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Paste 贴&lt;br /&gt;
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Horizontal scroll 横联&lt;br /&gt;
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Upper scroll 上联&lt;br /&gt;
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Lower scroll 下联&lt;br /&gt;
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===Questions ===&lt;br /&gt;
1.What’s the purpose of pasting Spring Festival Couplets?&lt;br /&gt;
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To expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
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2.What’s the historical origin of Spring Festival Couplets?&lt;br /&gt;
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It  originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.&lt;br /&gt;
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3.How to read the Spring Festival Couplets?&lt;br /&gt;
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First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. &lt;br /&gt;
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4.How to do with the Old Couplets?&lt;br /&gt;
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Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.&lt;br /&gt;
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==Instruments, Guzheng - Chen Han 陈涵 - Student No.202070080580==&lt;br /&gt;
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[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]&lt;br /&gt;
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===Guzheng===&lt;br /&gt;
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''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.&lt;br /&gt;
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There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).&lt;br /&gt;
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The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)&lt;br /&gt;
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[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;amp;z=0&amp;amp;ipn=d&amp;amp;word=古筝&amp;amp;step_word=&amp;amp;hs=0&amp;amp;pn=27&amp;amp;spn=0&amp;amp;di=9900&amp;amp;pi=0&amp;amp;rn=1&amp;amp;tn=baiduimagedetail&amp;amp;is=0%2C0&amp;amp;istype=2&amp;amp;ie=utf-8&amp;amp;oe=utf-8&amp;amp;in=&amp;amp;cl=2&amp;amp;lm=-1&amp;amp;st=-1&amp;amp;cs=3246661627%2C3658564396&amp;amp;os=3335747328%2C3552694810&amp;amp;simid=0%2C0&amp;amp;adpicid=0&amp;amp;lpn=0&amp;amp;ln=1718&amp;amp;fr=&amp;amp;fmq=1607348039297_R&amp;amp;fm=result&amp;amp;ic=&amp;amp;s=undefined&amp;amp;hd=&amp;amp;latest=&amp;amp;copyright=&amp;amp;se=&amp;amp;sme=&amp;amp;tab=0&amp;amp;width=&amp;amp;height=&amp;amp;face=undefined&amp;amp;ist=&amp;amp;jit=&amp;amp;cg=&amp;amp;bdtype=0&amp;amp;oriquery=&amp;amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;amp;gsm=1c&amp;amp;rpstart=0&amp;amp;rpnum=0&amp;amp;islist=&amp;amp;querylist=&amp;amp;force=undefined]for original source.]]&lt;br /&gt;
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The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)&lt;br /&gt;
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Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)&lt;br /&gt;
&lt;br /&gt;
In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)&lt;br /&gt;
&lt;br /&gt;
From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.&lt;br /&gt;
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.&lt;br /&gt;
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. &lt;br /&gt;
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.&lt;br /&gt;
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.&lt;br /&gt;
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.&lt;br /&gt;
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
*Meng Tian 蒙恬 &lt;br /&gt;
*Zhao Lin 赵璘&lt;br /&gt;
*''Records on Words'' 《因话录》&lt;br /&gt;
*anterior mountain 前岳山 &lt;br /&gt;
*posterior mountain 后岳山&lt;br /&gt;
*''Yan Zhu'' 雁柱 &lt;br /&gt;
*string pegs 弦钉&lt;br /&gt;
*turning box 调音盒 &lt;br /&gt;
*zither feet 琴足&lt;br /&gt;
*paulownia 桐木 &lt;br /&gt;
*mahogany 红木&lt;br /&gt;
*''Dai Mao'' 玳瑁&lt;br /&gt;
*''Yi Jia'' 义甲&lt;br /&gt;
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹&lt;br /&gt;
*''High Mountains and Running Water'' 《高山流水》&lt;br /&gt;
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》&lt;br /&gt;
*''Jackdaw Playing in the Water'' 《寒鸦戏水》&lt;br /&gt;
*''The Tune of Liu Qing Niang'' 《柳青娘》&lt;br /&gt;
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香&lt;br /&gt;
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望&lt;br /&gt;
*''National Music Ceremony'' 《国乐大典》&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What kind of musical instrument does the ''guzheng'' belong to?&lt;br /&gt;
&lt;br /&gt;
2. Why the ''guzheng'' is deeply loved by Chinese? &lt;br /&gt;
&lt;br /&gt;
3. Who is Meng Tian? &lt;br /&gt;
&lt;br /&gt;
4. According to the legend, how did the ''se'' develop into the ''zheng''?&lt;br /&gt;
&lt;br /&gt;
5. How many strings does the ''guzheng'' have? How long is the guzheng?&lt;br /&gt;
&lt;br /&gt;
6. What is the function of movable bridges?&lt;br /&gt;
&lt;br /&gt;
7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? &lt;br /&gt;
&lt;br /&gt;
8. In ancient times, what materials were the fingerpicks made of?&lt;br /&gt;
&lt;br /&gt;
9. Generally speaking, how does the players strike notes? &lt;br /&gt;
&lt;br /&gt;
10. What styles can ''guzheng'' be divided into?&lt;br /&gt;
&lt;br /&gt;
11. Which school does ''The Autumn Moon in the Han Palace'' belong to? &lt;br /&gt;
&lt;br /&gt;
12. Do you know any other ''guzheng'' music? Please list some pieces.&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It belongs to plucked stringed instruments.&lt;br /&gt;
&lt;br /&gt;
2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. &lt;br /&gt;
&lt;br /&gt;
3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.&lt;br /&gt;
&lt;br /&gt;
4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. &lt;br /&gt;
&lt;br /&gt;
5. It usually has 21 strings and is 163 centimeters long. &lt;br /&gt;
&lt;br /&gt;
6. They are moved to change the timbres.&lt;br /&gt;
&lt;br /&gt;
7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.&lt;br /&gt;
&lt;br /&gt;
8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.&lt;br /&gt;
&lt;br /&gt;
9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. &lt;br /&gt;
&lt;br /&gt;
10. The Northern school and the Southern school.&lt;br /&gt;
&lt;br /&gt;
11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.&lt;br /&gt;
&lt;br /&gt;
12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).&lt;br /&gt;
&lt;br /&gt;
==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==&lt;br /&gt;
===Facial makeup===&lt;br /&gt;
&lt;br /&gt;
Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)&lt;br /&gt;
&lt;br /&gt;
People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)&lt;br /&gt;
&lt;br /&gt;
The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)&lt;br /&gt;
&lt;br /&gt;
Red&lt;br /&gt;
&lt;br /&gt;
Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.&lt;br /&gt;
&lt;br /&gt;
Black&lt;br /&gt;
&lt;br /&gt;
Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.&lt;br /&gt;
&lt;br /&gt;
White&lt;br /&gt;
&lt;br /&gt;
White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.&lt;br /&gt;
&lt;br /&gt;
Blue&lt;br /&gt;
&lt;br /&gt;
Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.&lt;br /&gt;
&lt;br /&gt;
Purple&lt;br /&gt;
&lt;br /&gt;
Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.&lt;br /&gt;
&lt;br /&gt;
Golden&lt;br /&gt;
&lt;br /&gt;
Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
&lt;br /&gt;
The features of facial makeup are mainly as follows:&lt;br /&gt;
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
painted face 花脸&lt;br /&gt;
&lt;br /&gt;
clown 丑角&lt;br /&gt;
&lt;br /&gt;
Sheng 生&lt;br /&gt;
&lt;br /&gt;
Dan 旦&lt;br /&gt;
&lt;br /&gt;
Jing 净&lt;br /&gt;
&lt;br /&gt;
Chou 丑&lt;br /&gt;
&lt;br /&gt;
Qingyi 青衣&lt;br /&gt;
&lt;br /&gt;
xiaosheng 小生&lt;br /&gt;
&lt;br /&gt;
laosheng 老生&lt;br /&gt;
&lt;br /&gt;
wusheng 武生&lt;br /&gt;
&lt;br /&gt;
Gao Changgong 高长恭&lt;br /&gt;
&lt;br /&gt;
legend，romance 传奇剧&lt;br /&gt;
&lt;br /&gt;
Erlang Shen, Erlang 二郎神&lt;br /&gt;
&lt;br /&gt;
Tathagata, Buddha 如来佛&lt;br /&gt;
&lt;br /&gt;
Sakyamuni 释迦牟尼&lt;br /&gt;
&lt;br /&gt;
Water Margin of the Marsh 水浒传&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1.How many types are character roles divided into in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
2.What are the differences bbetween Sheng and Dan?&lt;br /&gt;
&lt;br /&gt;
3.What are the special features of Chou?&lt;br /&gt;
&lt;br /&gt;
4.What is the function of facial mask in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
5.What are the main features of facial makeup?&lt;br /&gt;
&lt;br /&gt;
6.What are the characteristics of characters wearing blue facial makeup?&lt;br /&gt;
===Answers===&lt;br /&gt;
1.Four types:Sheng, Dan, Jing and Chou.&lt;br /&gt;
&lt;br /&gt;
2.Sheng refers to male roles while Dan refers to female roles.&lt;br /&gt;
&lt;br /&gt;
3.A patch of white powder is wiped on their nose.&lt;br /&gt;
&lt;br /&gt;
4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. &lt;br /&gt;
&lt;br /&gt;
5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.&lt;br /&gt;
&lt;br /&gt;
6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.&lt;br /&gt;
&lt;br /&gt;
Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.&lt;br /&gt;
&lt;br /&gt;
Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.&lt;br /&gt;
&lt;br /&gt;
==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==&lt;br /&gt;
=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.&lt;br /&gt;
&lt;br /&gt;
====1.Liu Cixin（刘慈欣）====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)&lt;br /&gt;
&lt;br /&gt;
Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. &lt;br /&gt;
&lt;br /&gt;
Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &amp;quot;Supernova Era&amp;quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)&lt;br /&gt;
&lt;br /&gt;
Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &amp;quot;Memory of the Earth's Past&amp;quot; - the novel &amp;quot;The Problem of Three Bodies&amp;quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &amp;quot;The Three-Body Problem,&amp;quot; although this is not formally true.&lt;br /&gt;
&lt;br /&gt;
In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.&lt;br /&gt;
&lt;br /&gt;
Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.&lt;br /&gt;
&lt;br /&gt;
====2.Chen Qiufan (陈楸帆） ====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.&lt;br /&gt;
&lt;br /&gt;
Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.&lt;br /&gt;
&lt;br /&gt;
His debut book was ''The Empty Wave'', &amp;quot;combining realism and allegory to represent the hybridity of humans and machines.&amp;quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.&lt;br /&gt;
 &lt;br /&gt;
His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.&lt;br /&gt;
&lt;br /&gt;
====3.Rebecca F. Kuang (匡蘦秀)====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.&lt;br /&gt;
&lt;br /&gt;
Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.&lt;br /&gt;
&lt;br /&gt;
Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.&lt;br /&gt;
&lt;br /&gt;
Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Science fiction - 科幻&lt;br /&gt;
&lt;br /&gt;
2. Fantasy - 奇幻&lt;br /&gt;
&lt;br /&gt;
3. Horizon - 地平线&lt;br /&gt;
&lt;br /&gt;
4. Broad - 拓宽&lt;br /&gt;
&lt;br /&gt;
5. Hybrid - 杂种&lt;br /&gt;
&lt;br /&gt;
6. The plot - 情节&lt;br /&gt;
&lt;br /&gt;
7. Garbage - 垃圾堆&lt;br /&gt;
&lt;br /&gt;
8. Heyday - 壮年&lt;br /&gt;
&lt;br /&gt;
9. Supernova - 超新星&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What was the first book written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
2. What is the most popular trilogy of books written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
3. Who is called as Chinese William Gibson?&lt;br /&gt;
&lt;br /&gt;
4. What is Rebecca Quang's Opium War plot based on?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Supernova Era&lt;br /&gt;
&lt;br /&gt;
2. Memory of the Earth's Past&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan (陈楸帆）&lt;br /&gt;
&lt;br /&gt;
4. The plot is largely based on the history of China in the middle of the 20th century.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html&lt;br /&gt;
&lt;br /&gt;
2. Liu Cixin, Supernova Era, 2019. 352 pp.&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan, Waste Tide, 2019. 342 pp.&lt;br /&gt;
&lt;br /&gt;
4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.&lt;br /&gt;
&lt;br /&gt;
==Stilts - Chen Yongxiang 陈永相==&lt;br /&gt;
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
Stilt is one of the folk dances of the Han nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.&lt;br /&gt;
&lt;br /&gt;
As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.&lt;br /&gt;
&lt;br /&gt;
The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.&lt;br /&gt;
&lt;br /&gt;
Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.&lt;br /&gt;
&lt;br /&gt;
There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
Miliangtun (village name) 米粮屯&lt;br /&gt;
&lt;br /&gt;
stilts 高跷&lt;br /&gt;
&lt;br /&gt;
intangible cultural heritage 非物质文化遗产&lt;br /&gt;
&lt;br /&gt;
folk dance 民间舞蹈&lt;br /&gt;
&lt;br /&gt;
Toutou 陀头&lt;br /&gt;
&lt;br /&gt;
Laozuozi 老坐子 &lt;br /&gt;
&lt;br /&gt;
young boy 小二哥&lt;br /&gt;
&lt;br /&gt;
young master 公子&lt;br /&gt;
&lt;br /&gt;
Mr.Plaster 药先生&lt;br /&gt;
&lt;br /&gt;
Choupo 丑婆&lt;br /&gt;
&lt;br /&gt;
fisherman渔翁&lt;br /&gt;
&lt;br /&gt;
Yupo 渔婆 &lt;br /&gt;
&lt;br /&gt;
wood-cutter 柴翁&lt;br /&gt;
&lt;br /&gt;
handsome and ugly drum-players 俊鼓和丑鼓&lt;br /&gt;
&lt;br /&gt;
handsome and ugly gong-players 俊锣和丑锣&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Where does Miliangtun Village Stilts originate?&lt;br /&gt;
&lt;br /&gt;
2. How many years of history does Miliangtun Village Stilts have?&lt;br /&gt;
&lt;br /&gt;
3. How many roles in Miliangtun Village Stilts?&lt;br /&gt;
&lt;br /&gt;
4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?&lt;br /&gt;
&lt;br /&gt;
5. How long is the shortest and the longest stilts?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Answers====&lt;br /&gt;
&lt;br /&gt;
1. Wangzuo Town, Fengtai District, Beijing.&lt;br /&gt;
&lt;br /&gt;
2. More than 250 years.&lt;br /&gt;
&lt;br /&gt;
3. 13.&lt;br /&gt;
&lt;br /&gt;
4. In 2006.&lt;br /&gt;
&lt;br /&gt;
5. The shortest stilt is two feet long, and the longest reaches over five feet.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chinese Lion Dancing - Ding Daifeng 丁代凤==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)&lt;br /&gt;
&lt;br /&gt;
When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.&lt;br /&gt;
&lt;br /&gt;
There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)&lt;br /&gt;
&lt;br /&gt;
In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
===Northern lion dancing===&lt;br /&gt;
&lt;br /&gt;
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
===Southern lion dancing===&lt;br /&gt;
&lt;br /&gt;
Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Western Regions 西域&lt;br /&gt;
&lt;br /&gt;
mount 坐骑&lt;br /&gt;
&lt;br /&gt;
Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
&lt;br /&gt;
gong 锣&lt;br /&gt;
&lt;br /&gt;
northern lion dancing 南狮&lt;br /&gt;
&lt;br /&gt;
southern lion dancing 北狮&lt;br /&gt;
&lt;br /&gt;
colorful silk ball 绣球&lt;br /&gt;
&lt;br /&gt;
wooden stakes 木桩&lt;br /&gt;
&lt;br /&gt;
spiritual resemblance神似&lt;br /&gt;
&lt;br /&gt;
Liu Bei lion 刘备狮&lt;br /&gt;
&lt;br /&gt;
Guan Gong lion 关公狮&lt;br /&gt;
&lt;br /&gt;
Zhang Fei lion 张飞狮&lt;br /&gt;
&lt;br /&gt;
sworn brothers 结义兄弟&lt;br /&gt;
&lt;br /&gt;
horse stances 马步&lt;br /&gt;
&lt;br /&gt;
Cai Qing 采青&lt;br /&gt;
&lt;br /&gt;
lettuces 生菜&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. How long is the history of lion dance in China?&lt;br /&gt;
&lt;br /&gt;
2. Why did people gradually accept lion as a sacred animal?&lt;br /&gt;
&lt;br /&gt;
3. Why did people use lion dance to celebrate the New Year?&lt;br /&gt;
&lt;br /&gt;
4. What is the main difference between southern lion dancing and northern lion dancing?&lt;br /&gt;
&lt;br /&gt;
5. What is the center of southern lion dancing?&lt;br /&gt;
&lt;br /&gt;
6. How many colors are there in the heads of southern lions? And what are they?&lt;br /&gt;
&lt;br /&gt;
7. What is “Cai Qing”? And what do you know about “Cai Qing”?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It is with a history of about 2000 years.&lt;br /&gt;
&lt;br /&gt;
2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.&lt;br /&gt;
&lt;br /&gt;
3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
&lt;br /&gt;
4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.&lt;br /&gt;
&lt;br /&gt;
5. It is in southern China’s Guangdong province.&lt;br /&gt;
&lt;br /&gt;
6. The head of southern lion has three colors, namely black, red and yellow.&lt;br /&gt;
&lt;br /&gt;
7. It means &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.&lt;br /&gt;
&lt;br /&gt;
Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.&lt;br /&gt;
&lt;br /&gt;
Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.&lt;br /&gt;
&lt;br /&gt;
Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.&lt;br /&gt;
&lt;br /&gt;
==Literature, Tang-Song - Gan Fengyu 甘奉玉==&lt;br /&gt;
===A. The Eight Tang-Song Prose Masters===&lt;br /&gt;
[[File:Tang Song Ba Da Jia.jpg]]&lt;br /&gt;
&lt;br /&gt;
===Brief Introduction of The Eight Tang-Song Prose Masters===&lt;br /&gt;
&lt;br /&gt;
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） &lt;br /&gt;
In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)&lt;br /&gt;
&lt;br /&gt;
'''1. Han Yu'''&lt;br /&gt;
[[File:Han Yu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)&lt;br /&gt;
Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)&lt;br /&gt;
&lt;br /&gt;
'''2. Liu Zongyuan'''&lt;br /&gt;
[[File:Liu Zongyuan.jpg]]&lt;br /&gt;
&lt;br /&gt;
Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong &amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as&amp;quot; Liu Liuzhou &amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .&lt;br /&gt;
He was juxtaposed with Han Yu as &amp;quot;Han Liu &amp;quot;, with Liu Yuxi as &amp;quot; Liu Liu &amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu &amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)&lt;br /&gt;
He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)&lt;br /&gt;
&lt;br /&gt;
'''3. Ouyang Xiu'''&lt;br /&gt;
[[File:Ouyang Xiu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.&lt;br /&gt;
Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.&lt;br /&gt;
Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)&lt;br /&gt;
&lt;br /&gt;
'''4. Su Xun'''&lt;br /&gt;
[[File:Su Xun.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.&lt;br /&gt;
Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world &amp;quot;, to&amp;quot; apply to the present &amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)&lt;br /&gt;
  &lt;br /&gt;
'''5. Su Shi'''&lt;br /&gt;
[[File:Su Shi.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .&lt;br /&gt;
Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)&lt;br /&gt;
Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.&lt;br /&gt;
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'''6. Su Zhe'''&lt;br /&gt;
[[File:Su Zhe.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.&lt;br /&gt;
Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States.  From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)&lt;br /&gt;
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'''7. Wang Anshi'''&lt;br /&gt;
[[File:Wang Anshi.jpg]]&lt;br /&gt;
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Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .&lt;br /&gt;
Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)&lt;br /&gt;
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'''8. Zeng Gong'''&lt;br /&gt;
[[File:Zeng Gong.jpg]]&lt;br /&gt;
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Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.&lt;br /&gt;
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'''9. Comparison between the Ancient Prose Movement and Renaissance'''&lt;br /&gt;
Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)&lt;br /&gt;
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Comparison in ideology:&lt;br /&gt;
The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.&lt;br /&gt;
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Comparison in writing style:&lt;br /&gt;
The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)&lt;br /&gt;
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Comparison in literary form:&lt;br /&gt;
The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&amp;quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
The Eight Tang-Song Prose Masters 唐宋八大家&lt;br /&gt;
 &lt;br /&gt;
Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》&lt;br /&gt;
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Ancient Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
parallel prose 骈文&lt;br /&gt;
&lt;br /&gt;
The Decline of Eight Generations 文起八代之衰&lt;br /&gt;
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The Article Giant 文章巨公&lt;br /&gt;
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Admired Literate of One Hundred Generations 百代文宗&lt;br /&gt;
&lt;br /&gt;
Han Changli Collection 《韩昌黎集》&lt;br /&gt;
&lt;br /&gt;
External collection 《外集》&lt;br /&gt;
&lt;br /&gt;
The Teacher's Theory《师说》&lt;br /&gt;
&lt;br /&gt;
Pre-Qin and Han Dynasties 先秦两汉时期&lt;br /&gt;
&lt;br /&gt;
writing in classical Chinese 文言文&lt;br /&gt;
&lt;br /&gt;
feudal provincial of Liuzhou 柳州刺史&lt;br /&gt;
&lt;br /&gt;
official supervisor of imperial censor 监察御史&lt;br /&gt;
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Liu He Dong Colloection 《柳河东集》&lt;br /&gt;
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Northern Song Dynasty 北宋&lt;br /&gt;
&lt;br /&gt;
a thousand volumes of collections of inscriptions 金石遗文一千卷&lt;br /&gt;
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Xia, Shang, Zhou Dynasties 三代&lt;br /&gt;
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the crown of that time 一时之冠&lt;br /&gt;
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Southern Tang Dynasty 南唐&lt;br /&gt;
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Yu Feng 余风&lt;br /&gt;
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The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》&lt;br /&gt;
&lt;br /&gt;
the Northern Song Dynasty poetry innovation movement北宋诗文革新运动&lt;br /&gt;
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Heng Lun 《衡论》&lt;br /&gt;
&lt;br /&gt;
Duke Jingguo 荆国公&lt;br /&gt;
 &lt;br /&gt;
The Book to the Emperor 《上皇帝书》&lt;br /&gt;
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Dongpo Jushi 东坡居士&lt;br /&gt;
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Ci writer 词人&lt;br /&gt;
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Unconstrained Ci School豪放派&lt;br /&gt;
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literary and artistic attainments 文学艺术造诣&lt;br /&gt;
&lt;br /&gt;
the first all-round talent in ancient China 中国古代第一全才&lt;br /&gt;
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Su Men Four bachelors 苏门四学士&lt;br /&gt;
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the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》&lt;br /&gt;
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The New Theory《新论》&lt;br /&gt;
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On the Six Kingdoms 《六国论》&lt;br /&gt;
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Ode 赋&lt;br /&gt;
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The Ode to Ink bamboo 《墨竹赋》&lt;br /&gt;
&lt;br /&gt;
Seven Zengs of Nanfeng 南丰七曾&lt;br /&gt;
&lt;br /&gt;
the doctrine before the text先道后文&lt;br /&gt;
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the Book to Ouyang She Ren 《上欧阳舍人书》&lt;br /&gt;
&lt;br /&gt;
the Book to Bachelor Cai 《上蔡学士书》&lt;br /&gt;
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the Six Dynasties 六朝&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
1.Who are the pioneers of the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2.Which kind of prose they advocate in the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
3.Do you know any representatives of Liu Zongyuan?&lt;br /&gt;
&lt;br /&gt;
4.Why Ouyang Xiu is called &amp;quot;Liu Yi Scholar&amp;quot;?&lt;br /&gt;
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5.What’s the relationship among Su Xun, Su Shi and Su Zhe?&lt;br /&gt;
&lt;br /&gt;
6.Who are the &amp;quot;Seven Zengs of Nanfeng&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
7.Do you know any about the Renaissance?&lt;br /&gt;
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===D. Answers===&lt;br /&gt;
&lt;br /&gt;
1.Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2.The prose of Pre-Qin and Han Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.The &amp;quot;Liu He Dong Colloection&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.&lt;br /&gt;
&lt;br /&gt;
5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.&lt;br /&gt;
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6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
&lt;br /&gt;
7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1]Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.&lt;br /&gt;
&lt;br /&gt;
[2] Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.&lt;br /&gt;
&lt;br /&gt;
[3]He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.&lt;br /&gt;
&lt;br /&gt;
[4]Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.&lt;br /&gt;
&lt;br /&gt;
[5]Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.&lt;br /&gt;
&lt;br /&gt;
[6] Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).&lt;br /&gt;
&lt;br /&gt;
[7]Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).&lt;br /&gt;
&lt;br /&gt;
[8]Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.&lt;br /&gt;
&lt;br /&gt;
[9]Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.&lt;br /&gt;
&lt;br /&gt;
==Music, Instruments, Pipa - Gao Mingzhu 高明珠==&lt;br /&gt;
Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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'''1. A Brief Introduction'''&lt;br /&gt;
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Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.&lt;br /&gt;
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Pipa, a traditional plucked instrument in East Asia, has a history of more than two thousand years. The earliest instrument called &amp;quot;pipa&amp;quot; appeared around Qin Dynasty in China. The part &amp;quot;王王&amp;quot; of pipa(琵琶) means &amp;quot;two jade touch each other and make a pleasant sound &amp;quot;, indicating that it is a musical instrument that sounds by playing the strings. The Chinese character &amp;quot;pa(琶)&amp;quot; is derived from the right-handed technique used to play these instruments. That is to say, pi(琵) and pa(琶) is the name of the two playing techniques, pi(琵) means using the fingers of the right hand to pluck the strings forward and pa(琶) back.&lt;br /&gt;
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'''2.The Development of Pipa'''&lt;br /&gt;
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The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)&lt;br /&gt;
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During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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'''3.Pipa Schools and Their Chracteristics'''&lt;br /&gt;
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The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)&lt;br /&gt;
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(1)The Wuxi school&lt;br /&gt;
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The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)&lt;br /&gt;
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(2)The Pinghu school&lt;br /&gt;
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The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10)&lt;br /&gt;
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(3)The Pudong School &lt;br /&gt;
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Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)&lt;br /&gt;
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(4)The Chongming school&lt;br /&gt;
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The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)&lt;br /&gt;
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(5)The Shanghai school&lt;br /&gt;
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This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)&lt;br /&gt;
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'''4.Traditional Pipa Music'''&lt;br /&gt;
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Traditional pipa music can be divided into military songs, literary songs and military-literary songs.&lt;br /&gt;
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Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs. The representative repertoires are &amp;quot;Ambush on All Sides&amp;quot;, &amp;quot;Bury Me High&amp;quot;, &amp;quot;Hai Qing Hunting the Swan&amp;quot;, &amp;quot;General Order in the Han Dynasty&amp;quot;.&lt;br /&gt;
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Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone. Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on.&lt;br /&gt;
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Military-literary song is the combination of martial song and literary song. The representative songs are &amp;quot;The Spring Snow&amp;quot;, &amp;quot;High Mountain and Flowing Water&amp;quot;, &amp;quot;Dragon Boat&amp;quot;, &amp;quot;Flute and Drum at Sunset&amp;quot; and so on.&lt;br /&gt;
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'''5.Refferences'''&lt;br /&gt;
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[1]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.&lt;br /&gt;
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[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.&lt;br /&gt;
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'''6.Terms and Expressions'''&lt;br /&gt;
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弹拨乐器—plucked instruments&lt;br /&gt;
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汉化—Chinesization&lt;br /&gt;
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套曲—divertimentoes&lt;br /&gt;
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游牧民族—nomad tribe&lt;br /&gt;
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宫廷乐—court music&lt;br /&gt;
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轮指法—tremolo&lt;br /&gt;
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音色—timbre&lt;br /&gt;
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曲目—repertoire&lt;br /&gt;
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并弦—parallel string&lt;br /&gt;
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指法—fingering techniques&lt;br /&gt;
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'''7.Questions'''&lt;br /&gt;
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1、How many stages did pipa go through during its development?&lt;br /&gt;
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2、What characteristics did pipa have during Wei and Jin dynasties?&lt;br /&gt;
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3、What changes had been made to pipa during Ming and Qing dynasties?&lt;br /&gt;
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4、How many schools does pipa have and what are they?&lt;br /&gt;
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5、Can you list at least 3 representative repertoires of literary songs played by pipa? &lt;br /&gt;
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'''8.Answers'''&lt;br /&gt;
&lt;br /&gt;
1、Four.&lt;br /&gt;
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2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.&lt;br /&gt;
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3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. &lt;br /&gt;
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4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.   &lt;br /&gt;
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5、&amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; .&lt;br /&gt;
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==Huli-jing - Grosheva, Anna==&lt;br /&gt;
=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === &lt;br /&gt;
&lt;br /&gt;
The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?&lt;br /&gt;
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'''1. Huli-jing (狐狸精) in China'''&lt;br /&gt;
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First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.&lt;br /&gt;
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People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.&lt;br /&gt;
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Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.&lt;br /&gt;
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The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.&lt;br /&gt;
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Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.&lt;br /&gt;
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &amp;quot;Good Hunt&amp;quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.&lt;br /&gt;
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In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &amp;quot;Painted Skin (畫皮)&amp;quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.&lt;br /&gt;
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In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.&lt;br /&gt;
&lt;br /&gt;
Quite a lot of information about werewolf foxes can be obtained from the TV series &amp;quot;The Legend of the Nine-Tailed Fox&amp;quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.&lt;br /&gt;
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Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.&lt;br /&gt;
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The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.&lt;br /&gt;
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'''2. Kitsune (キツネ) in Japan''' &lt;br /&gt;
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In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&amp;quot;Fox-messenger&amp;quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.&lt;br /&gt;
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Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.&lt;br /&gt;
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Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.&lt;br /&gt;
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A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. &lt;br /&gt;
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'''3. Kumiho (구미호) in Korea'''&lt;br /&gt;
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Kumiho - (구 &amp;quot;ku&amp;quot; - nine, 미 &amp;quot;mi&amp;quot; - tail, 호 &amp;quot;ho&amp;quot; - fox - &amp;quot;fox with nine tails&amp;quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.&lt;br /&gt;
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In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Shape shifter – 成精&lt;br /&gt;
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Creature –生物&lt;br /&gt;
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Seductive –诱人的&lt;br /&gt;
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Damnation –诅咒&lt;br /&gt;
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Metaphor –隐喻&lt;br /&gt;
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Ascribe –属性&lt;br /&gt;
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Indigenous –土着&lt;br /&gt;
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Deity – 反面人物&lt;br /&gt;
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Liver – 肝脏&lt;br /&gt;
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===References===&lt;br /&gt;
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Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.&lt;br /&gt;
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Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.&lt;br /&gt;
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Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
==Chinese Characters - Gu Dongfang 顾东方==&lt;br /&gt;
Chinese Characters&lt;br /&gt;
&lt;br /&gt;
===Origin===&lt;br /&gt;
&lt;br /&gt;
Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）&lt;br /&gt;
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===Evolution of Chinese characters===&lt;br /&gt;
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]&lt;br /&gt;
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)&lt;br /&gt;
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===Ancient Chinese characters===&lt;br /&gt;
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====Oracle bone script====&lt;br /&gt;
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Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).&lt;br /&gt;
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====Bronze script====&lt;br /&gt;
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In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.&lt;br /&gt;
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====Seal script====&lt;br /&gt;
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. &lt;br /&gt;
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.&lt;br /&gt;
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===Modern characters===&lt;br /&gt;
====Clerical script====&lt;br /&gt;
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After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.&lt;br /&gt;
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.&lt;br /&gt;
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====Regular script====&lt;br /&gt;
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Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.&lt;br /&gt;
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===Formation of Chinese characters===&lt;br /&gt;
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====Pictograms====&lt;br /&gt;
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Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &amp;quot;sun,&amp;quot; 月 (yuè) for &amp;quot;moon,&amp;quot; and 木 (mù) for &amp;quot;tree.&amp;quot;&lt;br /&gt;
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====Pictophonetic compounds====&lt;br /&gt;
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Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.&lt;br /&gt;
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====Ideograph ====&lt;br /&gt;
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Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &amp;quot;knife,&amp;quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &amp;quot;blade.&amp;quot; Other common examples are 上 (shàng) for &amp;quot;up&amp;quot; and 下 (xià) for &amp;quot;down.&amp;quot; This category is small, as most concepts can be represented by characters in other categories.&lt;br /&gt;
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====Logical aggregates====&lt;br /&gt;
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Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.&lt;br /&gt;
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====Associate transformation====&lt;br /&gt;
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Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &amp;quot;elderly person,&amp;quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.&lt;br /&gt;
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====Borrowing ====&lt;br /&gt;
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Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)&lt;br /&gt;
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===Simplification of Chinese characters===&lt;br /&gt;
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The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)&lt;br /&gt;
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===Terms and expressions===&lt;br /&gt;
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1.Oracle Bone Inscriptions  甲骨文&lt;br /&gt;
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2.Bronze Inscriptions 金文&lt;br /&gt;
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3.Small seal characters 小篆&lt;br /&gt;
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4.Official script 隶书&lt;br /&gt;
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5.Regular script 楷书&lt;br /&gt;
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6.Cursive writing 草书&lt;br /&gt;
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7.Cang Jie 仓颉&lt;br /&gt;
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8.Clerical script 楷书&lt;br /&gt;
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9.Su Shi 苏轼&lt;br /&gt;
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10. Wang Xizhi 王羲之&lt;br /&gt;
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11.Ou Yangxun 欧阳询&lt;br /&gt;
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12.Yan Zhenqing 颜真卿&lt;br /&gt;
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13.Pictograms 象形&lt;br /&gt;
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14. Pictophonetic compounds 指事&lt;br /&gt;
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15.Ideograph 会意&lt;br /&gt;
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16.Logical aggregates 形声&lt;br /&gt;
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17.Associate transformation 转注&lt;br /&gt;
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18.Borrowing 假借&lt;br /&gt;
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===Question===&lt;br /&gt;
1.How many Chinese characters are there?&lt;br /&gt;
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2.How many letters are in the Chinese alphabet?&lt;br /&gt;
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3. How many formations of Chinese characters? What are they?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .&lt;br /&gt;
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2. There are 26 letters in Chinese alphabet.&lt;br /&gt;
&lt;br /&gt;
3. Six formations are included in Chinese characters system, and they are Pictograms&lt;br /&gt;
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1.王显春. 汉字的起源[M]. 学林出版社, 2002.&lt;br /&gt;
&lt;br /&gt;
2.刘又辛. &amp;quot;关于汉字发展史的几个问题(上).&amp;quot; 语文建设 12(1998):34-37.&lt;br /&gt;
&lt;br /&gt;
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188&lt;br /&gt;
&lt;br /&gt;
4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia,  https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.&lt;br /&gt;
&lt;br /&gt;
==Chinese Knots - Guan Qinqing 管钦清==&lt;br /&gt;
&lt;br /&gt;
===A.Chinese Knots===&lt;br /&gt;
&lt;br /&gt;
====1.A Brief Introduction about Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It &lt;br /&gt;
&lt;br /&gt;
originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.&lt;br /&gt;
&lt;br /&gt;
The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.&lt;br /&gt;
 &lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
&lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional  decoration and aesthetics,which &lt;br /&gt;
&lt;br /&gt;
earned the knot its name.&lt;br /&gt;
&lt;br /&gt;
====2.The Classification of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥&lt;br /&gt;
&lt;br /&gt;
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井&lt;br /&gt;
&lt;br /&gt;
结）,Cross Knot(十字结） and Ping Knot（平结）.&lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. &lt;br /&gt;
&lt;br /&gt;
=====2.1.The Double Coin Knot=====&lt;br /&gt;
&lt;br /&gt;
Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views &lt;br /&gt;
&lt;br /&gt;
on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only &lt;br /&gt;
&lt;br /&gt;
represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &amp;quot;luck money&amp;quot;. Therefore, for &lt;br /&gt;
&lt;br /&gt;
the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes &lt;br /&gt;
&lt;br /&gt;
&amp;quot;good things come in pairs&amp;quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful &lt;br /&gt;
&lt;br /&gt;
patterns, such as clouds and Perfect Knots，etc.&lt;br /&gt;
&lt;br /&gt;
=====2.2.The Good Luck Knot=====&lt;br /&gt;
&lt;br /&gt;
As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.&lt;br /&gt;
&lt;br /&gt;
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.&lt;br /&gt;
&lt;br /&gt;
=====2.3.The Pan Chang Knot=====&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the &lt;br /&gt;
&lt;br /&gt;
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is &lt;br /&gt;
&lt;br /&gt;
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.&lt;br /&gt;
&lt;br /&gt;
====3.The Knitting Method of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of  basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.&lt;br /&gt;
&lt;br /&gt;
The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.&lt;br /&gt;
&lt;br /&gt;
====4.The Cultural Connotations of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of &lt;br /&gt;
&lt;br /&gt;
rope and thread.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. In addition, Chinese people are descendants of &lt;br /&gt;
&lt;br /&gt;
dragons.Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &lt;br /&gt;
&lt;br /&gt;
&amp;quot;knot&amp;quot;, which means reunion and happiness. Many of the Chinese words composed of &amp;quot;结&amp;quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交&lt;br /&gt;
&lt;br /&gt;
（making friends), and 永结同心（tie the knot),etc. &amp;quot;结&amp;quot;(knot) is also homonymous with &amp;quot;吉&amp;quot;（ausipiciousness), so people even think that &amp;quot;knot&amp;quot; is a symbol of good luck.&lt;br /&gt;
&lt;br /&gt;
====5.Comparisons between Chinese Knots and Cross Necklaces====&lt;br /&gt;
&lt;br /&gt;
=====5.1.Different Cultural Connotations=====&lt;br /&gt;
&lt;br /&gt;
From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of &lt;br /&gt;
&lt;br /&gt;
Christianity. The cross, derived from the Latin &amp;quot;crux&amp;quot;, means &amp;quot;fork&amp;quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient &lt;br /&gt;
&lt;br /&gt;
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross &lt;br /&gt;
&lt;br /&gt;
ornaments in the west as cross necknaces are usually used to represent love and salvation.&lt;br /&gt;
&lt;br /&gt;
=====5.2.Different Shapes=====&lt;br /&gt;
&lt;br /&gt;
Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have &lt;br /&gt;
&lt;br /&gt;
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.&lt;br /&gt;
&lt;br /&gt;
====6.References====&lt;br /&gt;
&lt;br /&gt;
李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.&lt;br /&gt;
&lt;br /&gt;
李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.&lt;br /&gt;
&lt;br /&gt;
许星.路论中国结[J].丝绸,2004(02) : 46-47.&lt;br /&gt;
&lt;br /&gt;
邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.&lt;br /&gt;
&lt;br /&gt;
王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Double Coin Knot  双钱结&lt;br /&gt;
&lt;br /&gt;
Good Luck Knot 吉祥结&lt;br /&gt;
&lt;br /&gt;
Chinese Button Knot 纽扣结&lt;br /&gt;
&lt;br /&gt;
Sauvastika Knot 万字结&lt;br /&gt;
&lt;br /&gt;
Oxalis Knot 酢浆草结&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot 盘长结&lt;br /&gt;
&lt;br /&gt;
Round Brocade Knot 团锦结&lt;br /&gt;
&lt;br /&gt;
Caisson Celling Knot 藻井结&lt;br /&gt;
&lt;br /&gt;
Cross Knot 十字结&lt;br /&gt;
&lt;br /&gt;
Ping Knot 平结&lt;br /&gt;
&lt;br /&gt;
tie the knot 永结同心&lt;br /&gt;
&lt;br /&gt;
luck money 压岁钱&lt;br /&gt;
&lt;br /&gt;
the bishop's identity 主教职权&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the Chinese knot?&lt;br /&gt;
&lt;br /&gt;
2. Do you know the names of the main Chinese knots? What are they?&lt;br /&gt;
&lt;br /&gt;
3. What do &amp;quot;绳&amp;quot; and &amp;quot;结&amp;quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
==Civilisation, Chinese Mythology, Guirou, Barthelemy, 201921080010==&lt;br /&gt;
&lt;br /&gt;
[[File:Chinese Mythology.jpg|thumb|right|Panku]]&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The Chinese’s life is full of mythological history about religious, history, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, force and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.&lt;br /&gt;
&lt;br /&gt;
===A. Panku Created the World===&lt;br /&gt;
&lt;br /&gt;
In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).&lt;br /&gt;
&lt;br /&gt;
At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &amp;quot;li&amp;quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).&lt;br /&gt;
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.&lt;br /&gt;
&lt;br /&gt;
===B. NuWa Created Human Beings===&lt;br /&gt;
&lt;br /&gt;
[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]&lt;br /&gt;
&lt;br /&gt;
Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).&lt;br /&gt;
&lt;br /&gt;
As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.&lt;br /&gt;
 &lt;br /&gt;
During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.&lt;br /&gt;
&lt;br /&gt;
===C. Fushi Taught the People=== &lt;br /&gt;
&lt;br /&gt;
In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .&lt;br /&gt;
&lt;br /&gt;
Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &amp;quot;trigrams&amp;quot;,  in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &amp;quot;trigrams&amp;quot; was also a mean to interpret future and consult oracle about the right ways to follow.&lt;br /&gt;
&lt;br /&gt;
Finally, Fushi gave his last gift (music) in order people  can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &amp;quot;pipa&amp;quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history.  Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. &lt;br /&gt;
&lt;br /&gt;
===D. Water War===&lt;br /&gt;
&lt;br /&gt;
Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory.  Historically, both have terrible tempers and described as a very big giants with different shapes, Gong  shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body  with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).&lt;br /&gt;
&lt;br /&gt;
Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of  the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).&lt;br /&gt;
&lt;br /&gt;
===E. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Chinese Mythology 中国神话&lt;br /&gt;
&lt;br /&gt;
Panku 盤古&lt;br /&gt;
&lt;br /&gt;
Yin/Yang 陰陽 / 阴阳&lt;br /&gt;
&lt;br /&gt;
Nuwa 女媧&lt;br /&gt;
&lt;br /&gt;
Fushi 伏羲&lt;br /&gt;
&lt;br /&gt;
Water War 水战&lt;br /&gt;
&lt;br /&gt;
===F. Questions and Answers===&lt;br /&gt;
&lt;br /&gt;
1. Why an egg a good symbol for the beginning of the world?&lt;br /&gt;
&lt;br /&gt;
Answer: Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.&lt;br /&gt;
&lt;br /&gt;
2. Why Nuwa decided to create human beings?&lt;br /&gt;
 &lt;br /&gt;
Answer: Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.&lt;br /&gt;
 &lt;br /&gt;
3. What did Fushi taught to people?&lt;br /&gt;
&lt;br /&gt;
Answer:  He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.&lt;br /&gt;
 &lt;br /&gt;
4. What was the cause of Gong and Zurong’s war and who won?&lt;br /&gt;
&lt;br /&gt;
Answer: Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.&lt;br /&gt;
&lt;br /&gt;
Irene Dea Collier. (2001). &amp;quot;Chinese Mythology&amp;quot;. Library of Congress Cataloging-in-Publication Data.&lt;br /&gt;
&lt;br /&gt;
https://pic.17qq.com/uploads/ijbphegbibz.jpeg&lt;br /&gt;
&lt;br /&gt;
https://images-na.ssl-images-amazon.com/images/I/71r%2B5ICusZL._AC_SX522_.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:05, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gods and Immortals - Gui Yizhi 桂一枝==&lt;br /&gt;
&lt;br /&gt;
===Chinese gods and immortals===&lt;br /&gt;
&lt;br /&gt;
====Chinese mythology system====&lt;br /&gt;
&lt;br /&gt;
Chinese mythology is mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices[1].&lt;br /&gt;
&lt;br /&gt;
Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, the ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology have its own system; Buddhist mythology originated from India[2].&lt;br /&gt;
&lt;br /&gt;
The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in the history, not even being an integrate system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Sparating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters)[3].&lt;br /&gt;
&lt;br /&gt;
Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &amp;quot;Way&amp;quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their books and give most of them official post, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, god of happiness, Luxing, Firmness Star, god of firmness and success in life and examinations, and Shòuxing , Longevity Star, who stands for a healthy and long life[4].&lt;br /&gt;
&lt;br /&gt;
At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quit differences according to the level of their Buddhist understanding and practice. The one with highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin, is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &amp;quot;most widely beloved Buddhist Divinity&amp;quot;with miraculous powers to assist all those who pray to her[5].&lt;br /&gt;
&lt;br /&gt;
====神 shén, 帝 dì and 仙 xiān====&lt;br /&gt;
&lt;br /&gt;
Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. dì, sometimes translated as &amp;quot;thearch&amp;quot;, implies a manifested or incarnate &amp;quot;godly&amp;quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;[6].&lt;br /&gt;
&lt;br /&gt;
There is another difference between Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life[7].&lt;br /&gt;
&lt;br /&gt;
====Eight immortals====&lt;br /&gt;
&lt;br /&gt;
The Eight Immortals are a group of legendary xian (&amp;quot;immortals&amp;quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &amp;quot;Covert Eight Immortals&amp;quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai[8].&lt;br /&gt;
&lt;br /&gt;
The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble . Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the normal scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming, like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism[9]. &lt;br /&gt;
&lt;br /&gt;
The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &amp;quot;The Eight Immortals cross the sea, each reveals its divine powers&amp;quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal[10].&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
immortals 仙              &lt;br /&gt;
&lt;br /&gt;
mythology 神话，神话学&lt;br /&gt;
&lt;br /&gt;
cosmology 宇宙论，宇宙观    &lt;br /&gt;
&lt;br /&gt;
monolithic 整体（式）的&lt;br /&gt;
&lt;br /&gt;
the Battle of Zhuolu 涿鹿之战&lt;br /&gt;
&lt;br /&gt;
pantheistic 泛神论的       &lt;br /&gt;
&lt;br /&gt;
polytheistic 多神论的&lt;br /&gt;
&lt;br /&gt;
Three Pure Ones 三清&lt;br /&gt;
&lt;br /&gt;
anthropomorphic 人格化的&lt;br /&gt;
&lt;br /&gt;
tutelary 守护神            &lt;br /&gt;
&lt;br /&gt;
deity 神&lt;br /&gt;
&lt;br /&gt;
Buddha 佛                 &lt;br /&gt;
&lt;br /&gt;
Shakyamuni 释迦牟尼&lt;br /&gt;
&lt;br /&gt;
Amitabha 阿弥陀佛         &lt;br /&gt;
&lt;br /&gt;
Amitāyus 无量寿佛&lt;br /&gt;
&lt;br /&gt;
celestial 天的            &lt;br /&gt;
&lt;br /&gt;
Bodhisattva 菩萨          &lt;br /&gt;
&lt;br /&gt;
Pure Land 极乐世界         &lt;br /&gt;
&lt;br /&gt;
vessels 法器&lt;br /&gt;
&lt;br /&gt;
Covert Eight Immortals 暗八仙    &lt;br /&gt;
&lt;br /&gt;
Taoist 道家的，道士&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What are the topics of the Ancient mythology?&lt;br /&gt;
&lt;br /&gt;
2. What are the differences among shén, dì and xiān?&lt;br /&gt;
&lt;br /&gt;
3. What do the Eight immortals represent respectively?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.&lt;br /&gt;
&lt;br /&gt;
2. shén and dì corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12&lt;br /&gt;
&lt;br /&gt;
[2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 &lt;br /&gt;
&lt;br /&gt;
[3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40&lt;br /&gt;
&lt;br /&gt;
[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp;amp; Company.pp.27-28 &lt;br /&gt;
&lt;br /&gt;
[5]Buddhism, the Fulfilment of Hinduism P37&lt;br /&gt;
&lt;br /&gt;
[6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.&lt;br /&gt;
&lt;br /&gt;
[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201&lt;br /&gt;
&lt;br /&gt;
[8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50&lt;br /&gt;
&lt;br /&gt;
[9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50&lt;br /&gt;
&lt;br /&gt;
[10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.&lt;br /&gt;
&lt;br /&gt;
==Literature, Tang and Song - Guo Lu 郭露 202070080588==&lt;br /&gt;
&lt;br /&gt;
===Classical Prose Movement of late Tang Dynasty and Song Dynasty===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)&lt;br /&gt;
&lt;br /&gt;
====Development====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)&lt;br /&gt;
&lt;br /&gt;
However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)&lt;br /&gt;
&lt;br /&gt;
After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) &lt;br /&gt;
&lt;br /&gt;
====Representatives====&lt;br /&gt;
&lt;br /&gt;
'''1.Han Yu'''&lt;br /&gt;
&lt;br /&gt;
Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)&lt;br /&gt;
&lt;br /&gt;
Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)&lt;br /&gt;
&lt;br /&gt;
'''2.Liu Zongyuan'''&lt;br /&gt;
&lt;br /&gt;
Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &amp;quot;Jiangxue&amp;quot;. (Yang Shengli 2020, 42-44)&lt;br /&gt;
&lt;br /&gt;
'''3.Ouyang Xiu'''&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)&lt;br /&gt;
&lt;br /&gt;
Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)&lt;br /&gt;
&lt;br /&gt;
====Masterworks====&lt;br /&gt;
&lt;br /&gt;
Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)&lt;br /&gt;
&lt;br /&gt;
====Influence====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家&lt;br /&gt;
&lt;br /&gt;
Classical Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
''Eight Records of Excursions in Yongzhou'' 《永州八记》&lt;br /&gt;
&lt;br /&gt;
''On Teachers'' 《师说》&lt;br /&gt;
&lt;br /&gt;
''New Book of Tang'' 《新唐书》&lt;br /&gt;
&lt;br /&gt;
''Historical Records of the Five Dynasties'' 《新五代史》&lt;br /&gt;
&lt;br /&gt;
''Zuiweng Tingji'' 《醉翁亭记》&lt;br /&gt;
&lt;br /&gt;
''Shang Zhongyong'' 《伤仲永》&lt;br /&gt;
&lt;br /&gt;
''On Jia Yi'' 《贾谊论》&lt;br /&gt;
&lt;br /&gt;
''First Ode to the Red Cliff'' 《赤壁赋》&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Who were the first promoters of the Classical Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2. What does the Classical Prose Movement mean?&lt;br /&gt;
&lt;br /&gt;
3. What's political and religious purposes of the Classical Prose Movement?&lt;br /&gt;
&lt;br /&gt;
====Answers====&lt;br /&gt;
&lt;br /&gt;
1. The first promoters of this movement were Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.&lt;br /&gt;
&lt;br /&gt;
Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.&lt;br /&gt;
&lt;br /&gt;
Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.&lt;br /&gt;
&lt;br /&gt;
Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.&lt;br /&gt;
&lt;br /&gt;
Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.&lt;br /&gt;
&lt;br /&gt;
Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.&lt;br /&gt;
&lt;br /&gt;
Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.&lt;br /&gt;
&lt;br /&gt;
==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang==&lt;br /&gt;
&lt;br /&gt;
===The Chinese Red Envelope and Lucky money tradition===&lt;br /&gt;
&lt;br /&gt;
In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.&lt;br /&gt;
&lt;br /&gt;
====A. The Origin====&lt;br /&gt;
&lt;br /&gt;
In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
&lt;br /&gt;
One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
&lt;br /&gt;
====B. The tradition====&lt;br /&gt;
&lt;br /&gt;
The Chinese custom of lucky money is called &amp;quot;Hongbao&amp;quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.&lt;br /&gt;
&lt;br /&gt;
====C. Outside of China====&lt;br /&gt;
&lt;br /&gt;
The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.&lt;br /&gt;
&lt;br /&gt;
Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.&lt;br /&gt;
In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.&lt;br /&gt;
&lt;br /&gt;
In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.&lt;br /&gt;
&lt;br /&gt;
In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
Luckymoney 利市 /Lì shì/ &lt;br /&gt;
&lt;br /&gt;
Red envelope 紅包 /Hóngbāo/ &lt;br /&gt;
&lt;br /&gt;
Confucianism 儒教 /Rújiào/ &lt;br /&gt;
&lt;br /&gt;
Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Do you know the origin of giving Lunar new year lucky money to children？&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]&lt;br /&gt;
&lt;br /&gt;
==Calendar, The 24 Solar Terms - He Changqi 何长琦==&lt;br /&gt;
==='''The Twenty-four Solar Terms'''===&lt;br /&gt;
&lt;br /&gt;
===17.1 The orgin and development of the twenty-four solar terms===&lt;br /&gt;
&lt;br /&gt;
“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.[[1]]&lt;br /&gt;
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===17.2 The definition and classification of the twenty-four solar terms===&lt;br /&gt;
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“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (术语)&lt;br /&gt;
A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.&lt;br /&gt;
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===17.3 The conventions in different solar terms===&lt;br /&gt;
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===17.4 Importance and values===&lt;br /&gt;
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===17.4.1 Importance in ancient times===&lt;br /&gt;
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The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an  important role in the life and work of traditional Chinese people.&lt;br /&gt;
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and  an important manifestation and part of their colourful lives. For example, the &amp;quot;Four Beginnings&amp;quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.&lt;br /&gt;
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===17.4.2 Values in modern society===&lt;br /&gt;
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.&lt;br /&gt;
Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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the Beginning of Spring	立春&lt;br /&gt;
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Beginning of Autumn 立秋&lt;br /&gt;
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Rain Water 雨水 &lt;br /&gt;
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End of Heat 处暑&lt;br /&gt;
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Insects Awakening 惊蛰 	&lt;br /&gt;
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White Dew 白露&lt;br /&gt;
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Spring Equinox 春分 &lt;br /&gt;
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Autumnal Equinox 秋分&lt;br /&gt;
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Fresh Green 清明 &lt;br /&gt;
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Cold Dew 寒露&lt;br /&gt;
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Grain Rain 谷雨	&lt;br /&gt;
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First Frost 霜降 &lt;br /&gt;
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Beginning of Summer 立夏 &lt;br /&gt;
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Beginning of Winter 立冬&lt;br /&gt;
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Lesser Fullness	小满 	&lt;br /&gt;
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Light Snow 小雪&lt;br /&gt;
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Grain in Ear 芒种	&lt;br /&gt;
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Heavy Snow 大雪&lt;br /&gt;
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Summer Solstice	夏至&lt;br /&gt;
 	&lt;br /&gt;
Winter Solstice	冬至&lt;br /&gt;
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Lesser Heat 大暑&lt;br /&gt;
 	&lt;br /&gt;
Lesser Cold 小寒&lt;br /&gt;
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Greater Heat 立春 &lt;br /&gt;
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Greater Cold 大寒&lt;br /&gt;
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===Questions===&lt;br /&gt;
===Answers===&lt;br /&gt;
===References===&lt;br /&gt;
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References:[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 10:11, 20 November 2020 (UTC)&lt;br /&gt;
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==Literature, Yue Fu - Hu Baihui 胡百辉==&lt;br /&gt;
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===Collection of Yue Fu Poetry《乐府诗集》===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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'''1.Brief introduction'''&lt;br /&gt;
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''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty.&lt;br /&gt;
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&amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.&lt;br /&gt;
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'''2.About the author'''&lt;br /&gt;
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Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.&lt;br /&gt;
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'''3.Content introduction'''&lt;br /&gt;
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It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &amp;quot;Yuefu Poetry Collection&amp;quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.&lt;br /&gt;
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====Masterpieces====&lt;br /&gt;
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'''1.''The Peacock Flies to Southeast'''''&lt;br /&gt;
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''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. &lt;br /&gt;
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It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.&lt;br /&gt;
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As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.&lt;br /&gt;
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'''2.''Mulan Poetry'''''&lt;br /&gt;
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''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.&lt;br /&gt;
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====Evaluation====&lt;br /&gt;
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'''1.Contributions'''&lt;br /&gt;
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The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.&lt;br /&gt;
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There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.&lt;br /&gt;
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'''2.Shortcomings'''&lt;br /&gt;
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There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.&lt;br /&gt;
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===References===&lt;br /&gt;
Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University,(2002)10.&lt;br /&gt;
&lt;br /&gt;
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University, (2007)12.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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''Collection of Yue Fu Poetry''《乐府诗集》&lt;br /&gt;
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Jiaomiao songs郊庙歌辞&lt;br /&gt;
&lt;br /&gt;
Yanshe songs燕射歌辞&lt;br /&gt;
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Guchui drum songs鼓吹曲辞&lt;br /&gt;
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Hengchui songs横吹曲辞&lt;br /&gt;
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Xianghe songs相和歌辞&lt;br /&gt;
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''The Peacock Flies to Southeast'' 《孔雀东南飞》&lt;br /&gt;
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''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
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1.When was Yuefu Poetry compiled？&lt;br /&gt;
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2.Which institution did &amp;quot;Yuefu&amp;quot; belong to?&lt;br /&gt;
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3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)&lt;br /&gt;
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===Answers===&lt;br /&gt;
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1.In Song Dynasty.&lt;br /&gt;
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2.It belongs to the institution in charge of music.&lt;br /&gt;
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3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)&lt;br /&gt;
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==Cuisines, 8 Major Cuisines in China - Hu Jin 胡瑾==&lt;br /&gt;
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===Eight Major Cuisines of China===&lt;br /&gt;
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====1. A Brief Introduction About Chinese Cuisine====&lt;br /&gt;
As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &amp;quot;four major cuisines.&amp;quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &amp;quot;eight major cuisines&amp;quot; of traditional Chinese cuisine.&lt;br /&gt;
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====2. The Classification of Chinese Cuisines====&lt;br /&gt;
      &lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around.&lt;br /&gt;
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=====2.1 Shandong Cuisine=====&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. &lt;br /&gt;
=====2.2 Sichuan Cuisine=====&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one &lt;br /&gt;
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu.&lt;br /&gt;
=====2.3 Guangdong Cuisine=====&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. &lt;br /&gt;
=====2.4 Fujian Cuisine=====&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &amp;quot;pickled taste&amp;quot;. &lt;br /&gt;
=====2.5 Jiangsu Cuisine=====&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. &lt;br /&gt;
=====2.6 Zhejiang Cuisine=====&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. &lt;br /&gt;
=====2.7 Hunan Cuisine=====&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division.&lt;br /&gt;
=====2.8 Anhui Cuisine=====&lt;br /&gt;
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes.&lt;br /&gt;
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====3. A Comparison of Chinese-Western Diet Culture====&lt;br /&gt;
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Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.&lt;br /&gt;
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Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.&lt;br /&gt;
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====References====&lt;br /&gt;
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毕继万. (1999). ''跨文化非语言交际''. 北京：外语教学与研究出版社.&lt;br /&gt;
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蔡华. (2007). 试论中西饮食文化的差异. ''邵阳学院学报''.&lt;br /&gt;
&lt;br /&gt;
杜学增. (1999). ''中英文化习俗比较''. 北京：外语教学与研究出版社.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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pot-stewed fowl 卤味&lt;br /&gt;
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stewing and simmering炖，煨&lt;br /&gt;
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prickly ash 花椒&lt;br /&gt;
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fermented soybean豆鼓&lt;br /&gt;
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Braised Dongpo Pork东坡肉&lt;br /&gt;
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Buddha Jumps over the Wall 佛跳墙&lt;br /&gt;
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Kung Pao Chicken 宫保鸡丁&lt;br /&gt;
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Bean Sauce Tofu麻婆豆腐&lt;br /&gt;
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===Questions===&lt;br /&gt;
1. How many types of cuisines are there in china?&lt;br /&gt;
&lt;br /&gt;
2. What’s differences between Chinese and western diets?&lt;br /&gt;
&lt;br /&gt;
3. What is the origin of Dongpo Meat?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. Eight&lt;br /&gt;
&lt;br /&gt;
2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a  more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. &lt;br /&gt;
&lt;br /&gt;
3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
== Eight major cuisines of China ==&lt;br /&gt;
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==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636==&lt;br /&gt;
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Chinese Paper Cutting 剪纸&lt;br /&gt;
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===Text===&lt;br /&gt;
===Introduction===&lt;br /&gt;
The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.&lt;br /&gt;
&lt;br /&gt;
===History===&lt;br /&gt;
The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &amp;quot;Guiyu&amp;quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &amp;quot;Mulan Ci&amp;quot; has the poem &amp;quot;yellow to the mirror&amp;quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.&lt;br /&gt;
&lt;br /&gt;
In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.&lt;br /&gt;
&lt;br /&gt;
At the beginning of the 20th century, the &amp;quot;May 4th&amp;quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.&lt;br /&gt;
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===Categories===&lt;br /&gt;
===Schools===&lt;br /&gt;
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===Significance===&lt;br /&gt;
===References===&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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===Questions===&lt;br /&gt;
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===Answers===&lt;br /&gt;
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==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592==&lt;br /&gt;
&lt;br /&gt;
===The Chinese Medical Sage - Zhang Zhongjing===&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)&lt;br /&gt;
&lt;br /&gt;
Later, people called the doctor who sat in the drugstore to treat patients &amp;quot;the doctor sitting in the hall&amp;quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)&lt;br /&gt;
&lt;br /&gt;
When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
There is a Chinese saying that goes, &amp;quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&amp;quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
In fact, the way of making &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &amp;quot;Jiao Er&amp;quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &amp;quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&amp;quot; (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
[[File:Zhang_Zhongjing.jpg]]&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
[1] 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药. 2003(17)&lt;br /&gt;
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[2] Zhang Maoyun 张茂云. 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育. 2014(04)&lt;br /&gt;
&lt;br /&gt;
[3] Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. “医圣”张仲景[J]. 中国卫生人才. 2013(07)&lt;br /&gt;
&lt;br /&gt;
[4] Zhang Deli 张德礼. 心系百姓的“医圣”张仲景[J]. 现代班组. 2019(05)&lt;br /&gt;
&lt;br /&gt;
[5] Tan Rongzhou 覃荣周. 张仲景对我国医学发展的历史贡献[J]. 兰台世界. 2013(07)&lt;br /&gt;
&lt;br /&gt;
[6] Zhao Qingxin 赵清新. 万世医宗张仲景[J]. 解放军健康. 1999(05)&lt;br /&gt;
&lt;br /&gt;
[7] 张仲景:“医圣”之名传天下[J]. 天一. 月读. 2020(03)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
medical sage 医圣&lt;br /&gt;
&lt;br /&gt;
Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》&lt;br /&gt;
&lt;br /&gt;
treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治&lt;br /&gt;
&lt;br /&gt;
yamen 衙门&lt;br /&gt;
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Great Cold ( 24th solar term ) 大寒&lt;br /&gt;
&lt;br /&gt;
Slight Cold ( 23rd solar term ) 小寒&lt;br /&gt;
&lt;br /&gt;
look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切&lt;br /&gt;
&lt;br /&gt;
Cold Dispelling Jiaoer Soup 祛寒娇耳汤&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What's the honorable title Zhang Zhongjing addressed as?&lt;br /&gt;
&lt;br /&gt;
2. What's the official role Zhang once taken?&lt;br /&gt;
&lt;br /&gt;
3. When would Zhang treat patients for free at yamen?&lt;br /&gt;
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4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?&lt;br /&gt;
&lt;br /&gt;
5. What's the relationship between Zhang Zhongjing and dumplings?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Medical Sage.&lt;br /&gt;
&lt;br /&gt;
2. Changsha magistrate.&lt;br /&gt;
&lt;br /&gt;
3. He treated patients for free on the first and fifteenth days of every lunar month.&lt;br /&gt;
&lt;br /&gt;
4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.&lt;br /&gt;
&lt;br /&gt;
5. Dumplings are derived from the recipe &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot; developed by Zhang Zhongjing.&lt;br /&gt;
 &lt;br /&gt;
--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 202070080578==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)&lt;br /&gt;
&lt;br /&gt;
The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)&lt;br /&gt;
 &lt;br /&gt;
There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)&lt;br /&gt;
&lt;br /&gt;
The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)&lt;br /&gt;
&lt;br /&gt;
Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)&lt;br /&gt;
&lt;br /&gt;
There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)&lt;br /&gt;
&lt;br /&gt;
Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
''Qingming Riverside Landscape Garden'' 清明上河园&lt;br /&gt;
&lt;br /&gt;
''Riverside Scene at Qingming Festival''《清明上河图》&lt;br /&gt;
&lt;br /&gt;
Rainbow Bridge虹桥&lt;br /&gt;
&lt;br /&gt;
Fuyun Pavillion浮云阁&lt;br /&gt;
&lt;br /&gt;
Shangshan Gate 上善门&lt;br /&gt;
&lt;br /&gt;
chrysanthemum菊花&lt;br /&gt;
&lt;br /&gt;
''Baogong Salute to Guests''包公迎宾&lt;br /&gt;
&lt;br /&gt;
''Spitting Fire Show''气功喷火&lt;br /&gt;
&lt;br /&gt;
''Cockfight''斗鸡&lt;br /&gt;
&lt;br /&gt;
''Women’s Polo''女子马球&lt;br /&gt;
&lt;br /&gt;
''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.What is the location of ''Qingming Riverside Landscape Garden''?&lt;br /&gt;
&lt;br /&gt;
2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?&lt;br /&gt;
&lt;br /&gt;
3.When was ''Qingming Riverside Landscape Garden'' opened to the public?&lt;br /&gt;
&lt;br /&gt;
4.Who is the painter of ''Piverside Scene at Qingming Festival''?&lt;br /&gt;
&lt;br /&gt;
5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?&lt;br /&gt;
&lt;br /&gt;
6.What does the name of ''Fuyun Pavilion'' mean?&lt;br /&gt;
&lt;br /&gt;
7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?&lt;br /&gt;
&lt;br /&gt;
8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.&lt;br /&gt;
&lt;br /&gt;
2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. &lt;br /&gt;
&lt;br /&gt;
3.It was officially opened to the public on October 28, 1998.&lt;br /&gt;
&lt;br /&gt;
4.Zhang Zeduan.&lt;br /&gt;
&lt;br /&gt;
5.Northern Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.&lt;br /&gt;
&lt;br /&gt;
7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. &lt;br /&gt;
&lt;br /&gt;
8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.&lt;br /&gt;
&lt;br /&gt;
Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.&lt;br /&gt;
&lt;br /&gt;
Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.&lt;br /&gt;
&lt;br /&gt;
Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.&lt;br /&gt;
&lt;br /&gt;
Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.&lt;br /&gt;
&lt;br /&gt;
Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=111216</id>
		<title>20201215 cultexam 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam_1&amp;diff=111216"/>
		<updated>2020-12-13T08:48:44Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Spring Festival Couplets - Cao Runxin 曹润鑫 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei];  [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.&lt;br /&gt;
&lt;br /&gt;
'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
==Chinese Astrology - Alsied, Saffana==&lt;br /&gt;
&amp;quot;Chinese Astrology&amp;quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Text===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''References missing.'''&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
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===Questions===&lt;br /&gt;
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===Answers===&lt;br /&gt;
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==Spring Festival Couplets - Cao Runxin 曹润鑫==&lt;br /&gt;
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Spring Festival Couplets===&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34-35).&lt;br /&gt;
&lt;br /&gt;
There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&amp;lt;/span&amp;gt;&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. 汉字文化 Chinese character culture (19) 34-35.&lt;br /&gt;
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===Terms and Expressions ===&lt;br /&gt;
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 &lt;br /&gt;
&lt;br /&gt;
Paste 贴&lt;br /&gt;
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Horizontal scroll 横联&lt;br /&gt;
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Upper scroll 上联&lt;br /&gt;
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Lower scroll 下联&lt;br /&gt;
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===Questions ===&lt;br /&gt;
1.What’s the purpose of pasting Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
To expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
&lt;br /&gt;
2.What’s the historical origin of Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
It  originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.&lt;br /&gt;
&lt;br /&gt;
3.How to read the Spring Festival Couplets?&lt;br /&gt;
&lt;br /&gt;
First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. &lt;br /&gt;
&lt;br /&gt;
4.How to do with the Old Couplets?&lt;br /&gt;
&lt;br /&gt;
Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.&lt;br /&gt;
&lt;br /&gt;
==Instruments, Guzheng - Chen Han 陈涵 - Student No.202070080580==&lt;br /&gt;
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[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]]&lt;br /&gt;
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===Guzheng===&lt;br /&gt;
&lt;br /&gt;
''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time (Wang Xiaohong, Gu Haijun 2019, 69). Due to the long history, its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.&lt;br /&gt;
&lt;br /&gt;
There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part (Jin Jianmin 1988, 51).&lt;br /&gt;
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The modern-day ''guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as ''Yan Zhu'' which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)&lt;br /&gt;
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[[File:Fingerpicks.jpg|250px|thumb|right|Using fingerpicks to play the guzheng. Image from Baidu. Click[https://image.baidu.com/search/detail?ct=503316480&amp;amp;z=0&amp;amp;ipn=d&amp;amp;word=古筝&amp;amp;step_word=&amp;amp;hs=0&amp;amp;pn=27&amp;amp;spn=0&amp;amp;di=9900&amp;amp;pi=0&amp;amp;rn=1&amp;amp;tn=baiduimagedetail&amp;amp;is=0%2C0&amp;amp;istype=2&amp;amp;ie=utf-8&amp;amp;oe=utf-8&amp;amp;in=&amp;amp;cl=2&amp;amp;lm=-1&amp;amp;st=-1&amp;amp;cs=3246661627%2C3658564396&amp;amp;os=3335747328%2C3552694810&amp;amp;simid=0%2C0&amp;amp;adpicid=0&amp;amp;lpn=0&amp;amp;ln=1718&amp;amp;fr=&amp;amp;fmq=1607348039297_R&amp;amp;fm=result&amp;amp;ic=&amp;amp;s=undefined&amp;amp;hd=&amp;amp;latest=&amp;amp;copyright=&amp;amp;se=&amp;amp;sme=&amp;amp;tab=0&amp;amp;width=&amp;amp;height=&amp;amp;face=undefined&amp;amp;ist=&amp;amp;jit=&amp;amp;cg=&amp;amp;bdtype=0&amp;amp;oriquery=&amp;amp;objurl=http%3A%2F%2Fi2.hdslb.com%2Fbfs%2Farchive%2F6a84e824b3507f96cd3f55df9c2d38744bb81962.jpg&amp;amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Ff_z%26e3Bojtk5_z%26e3Bv54AzdH3Fojtk5AzdH3F%25Ec%25la%25bC%25El%25b8%25ln%25Em%25AE%25bA%25El%25ba%25l9%25Ec%25bF%25A9%25E0%25AD%25lD%3Fiwfet1j5%3D8%26fjw6viet1j5%3D8&amp;amp;gsm=1c&amp;amp;rpstart=0&amp;amp;rpnum=0&amp;amp;islist=&amp;amp;querylist=&amp;amp;force=undefined]for original source.]]&lt;br /&gt;
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The fingerpicks, called ''Dai Mao'' or ''Yi Jia'', used by ''guzheng'' performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The ''guzheng'' is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the ''guzheng'', such as ''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo''. These techniques of playing the ''guzheng'' can create sounds that evoke the sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. ''Do'', ''Re'', ''Mi'', ''So'' and ''La'' are the pentatonic scale of the ''guzheng'', but ''Fa'' and ''Si'' are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)&lt;br /&gt;
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Since the Qin and Han Dynasties, ''guzheng'' gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the ''guzheng'' can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several other schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of ''zheng'' music and performance methods. Some famous pieces such as ''High Mountains and Running Water'' (''Gao Shan Liu Shui''), ''The Autumn Moon in the Han Palace'' (''Han Gong Qiu Yue'') are both from the Shandong school. In the southern school, representatives include ''Jackdaw Playing in the Water'' (''Han Ya Xi Shui''), and ''The Tune of Liu Qing Niang'' belongs to the Chaozhou school. (Cao Yue 2002, 84)&lt;br /&gt;
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In the 20th century, outstanding ''guzheng'' performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of ''guzheng'' (Liu Xueqi 2019, 83). Notable Chinese ''guzheng'' players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional ''guzheng'' music, many performers today have made innovations in ''guzheng'' performance. Take Wang Zhongshan as an example, he participated a TV show—''National Music Ceremony'', which is a large-scale original Chinese classic music competition show. In a performance, Wang played the ''guzheng'' to merge the music in ''Dream of the Red Chamber'' with the song in ''Game of Thrones'', making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)&lt;br /&gt;
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From ancient times to the present, the charm of the ''guzheng'' has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. ''东南大学学报(哲学社会科学版)'' Journal of Southeast University (Philosophy and Social Science) (04) 84-87.&lt;br /&gt;
*Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. ''民族音乐'' Folk Music (01) 57-58.&lt;br /&gt;
*Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. ''中国文艺家'' Chinese literary artists (05) 39+165. &lt;br /&gt;
*Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. ''中国音乐'' Chinese Music (01) 51.&lt;br /&gt;
*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83.&lt;br /&gt;
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198.&lt;br /&gt;
*Wang Xiaohong 王晓红, Gu Haijun 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
*Meng Tian 蒙恬 &lt;br /&gt;
*Zhao Lin 赵璘&lt;br /&gt;
*''Records on Words'' 《因话录》&lt;br /&gt;
*anterior mountain 前岳山 &lt;br /&gt;
*posterior mountain 后岳山&lt;br /&gt;
*''Yan Zhu'' 雁柱 &lt;br /&gt;
*string pegs 弦钉&lt;br /&gt;
*turning box 调音盒 &lt;br /&gt;
*zither feet 琴足&lt;br /&gt;
*paulownia 桐木 &lt;br /&gt;
*mahogany 红木&lt;br /&gt;
*''Dai Mao'' 玳瑁&lt;br /&gt;
*''Yi Jia'' 义甲&lt;br /&gt;
*''gou'', ''tuo'', ''pi'', ''tiao'' and ''mo'' 勾、托、劈、挑、抹&lt;br /&gt;
*''High Mountains and Running Water'' 《高山流水》&lt;br /&gt;
*''The Autumn Moon in the Han Palace'' 《汉宫秋月》&lt;br /&gt;
*''Jackdaw Playing in the Water'' 《寒鸦戏水》&lt;br /&gt;
*''The Tune of Liu Qing Niang'' 《柳青娘》&lt;br /&gt;
*Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香&lt;br /&gt;
*Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望&lt;br /&gt;
*''National Music Ceremony'' 《国乐大典》&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What kind of musical instrument does the ''guzheng'' belong to?&lt;br /&gt;
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2. Why the ''guzheng'' is deeply loved by Chinese? &lt;br /&gt;
&lt;br /&gt;
3. Who is Meng Tian? &lt;br /&gt;
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4. According to the legend, how did the ''se'' develop into the ''zheng''?&lt;br /&gt;
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5. How many strings does the ''guzheng'' have? How long is the guzheng?&lt;br /&gt;
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6. What is the function of movable bridges?&lt;br /&gt;
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7. What are used by ''guzheng'' performers to play the instrument? And What are they also called? &lt;br /&gt;
&lt;br /&gt;
8. In ancient times, what materials were the fingerpicks made of?&lt;br /&gt;
&lt;br /&gt;
9. Generally speaking, how does the players strike notes? &lt;br /&gt;
&lt;br /&gt;
10. What styles can ''guzheng'' be divided into?&lt;br /&gt;
&lt;br /&gt;
11. Which school does ''The Autumn Moon in the Han Palace'' belong to? &lt;br /&gt;
&lt;br /&gt;
12. Do you know any other ''guzheng'' music? Please list some pieces.&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It belongs to plucked stringed instruments.&lt;br /&gt;
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2. It has beautiful timbre, broad range, rich performance skills and strong expressive power. &lt;br /&gt;
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3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the ''zheng'' is said to have been invented by him.&lt;br /&gt;
&lt;br /&gt;
4. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. &lt;br /&gt;
&lt;br /&gt;
5. It usually has 21 strings and is 163 centimeters long. &lt;br /&gt;
&lt;br /&gt;
6. They are moved to change the timbres.&lt;br /&gt;
&lt;br /&gt;
7. ''Guzheng'' performers use fingerpicks to play the instrument. They are also called ''Dai Mao'' or ''Yi Jia''.&lt;br /&gt;
&lt;br /&gt;
8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.&lt;br /&gt;
&lt;br /&gt;
9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. &lt;br /&gt;
&lt;br /&gt;
10. The Northern school and the Southern school.&lt;br /&gt;
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11. ''The Autumn Moon in the Han Palace'' belongs to the Shandong school.&lt;br /&gt;
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12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》).&lt;br /&gt;
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==Facial Make-up - Chen Jingjing 陈静静 - Student No. 202070080581==&lt;br /&gt;
===Facial makeup===&lt;br /&gt;
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Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)&lt;br /&gt;
&lt;br /&gt;
People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)&lt;br /&gt;
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The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)&lt;br /&gt;
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Red&lt;br /&gt;
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Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.&lt;br /&gt;
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Black&lt;br /&gt;
&lt;br /&gt;
Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.&lt;br /&gt;
&lt;br /&gt;
White&lt;br /&gt;
&lt;br /&gt;
White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.&lt;br /&gt;
&lt;br /&gt;
Blue&lt;br /&gt;
&lt;br /&gt;
Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.&lt;br /&gt;
&lt;br /&gt;
Purple&lt;br /&gt;
&lt;br /&gt;
Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.&lt;br /&gt;
&lt;br /&gt;
Golden&lt;br /&gt;
&lt;br /&gt;
Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
&lt;br /&gt;
The features of facial makeup are mainly as follows:&lt;br /&gt;
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture.&lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.(Cao Juan, 2019, 61)&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
painted face 花脸&lt;br /&gt;
&lt;br /&gt;
clown 丑角&lt;br /&gt;
&lt;br /&gt;
Sheng 生&lt;br /&gt;
&lt;br /&gt;
Dan 旦&lt;br /&gt;
&lt;br /&gt;
Jing 净&lt;br /&gt;
&lt;br /&gt;
Chou 丑&lt;br /&gt;
&lt;br /&gt;
Qingyi 青衣&lt;br /&gt;
&lt;br /&gt;
xiaosheng 小生&lt;br /&gt;
&lt;br /&gt;
laosheng 老生&lt;br /&gt;
&lt;br /&gt;
wusheng 武生&lt;br /&gt;
&lt;br /&gt;
Gao Changgong 高长恭&lt;br /&gt;
&lt;br /&gt;
legend，romance 传奇剧&lt;br /&gt;
&lt;br /&gt;
Erlang Shen, Erlang 二郎神&lt;br /&gt;
&lt;br /&gt;
Tathagata, Buddha 如来佛&lt;br /&gt;
&lt;br /&gt;
Sakyamuni 释迦牟尼&lt;br /&gt;
&lt;br /&gt;
Water Margin of the Marsh 水浒传&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1.How many types are character roles divided into in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
2.What are the differences bbetween Sheng and Dan?&lt;br /&gt;
&lt;br /&gt;
3.What are the special features of Chou?&lt;br /&gt;
&lt;br /&gt;
4.What is the function of facial mask in Beijing opera?&lt;br /&gt;
&lt;br /&gt;
5.What are the main features of facial makeup?&lt;br /&gt;
&lt;br /&gt;
6.What are the characteristics of characters wearing blue facial makeup?&lt;br /&gt;
===Answers===&lt;br /&gt;
1.Four types:Sheng, Dan, Jing and Chou.&lt;br /&gt;
&lt;br /&gt;
2.Sheng refers to male roles while Dan refers to female roles.&lt;br /&gt;
&lt;br /&gt;
3.A patch of white powder is wiped on their nose.&lt;br /&gt;
&lt;br /&gt;
4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. &lt;br /&gt;
&lt;br /&gt;
5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.&lt;br /&gt;
&lt;br /&gt;
6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.&lt;br /&gt;
&lt;br /&gt;
Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.&lt;br /&gt;
&lt;br /&gt;
Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.&lt;br /&gt;
&lt;br /&gt;
==Literature, Science Fiction and Fantasy - Dashkin, Gennadii - Student No.201911080001==&lt;br /&gt;
=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Nowadays, modern literature is one of most interesting and gorgeous side of the worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that modern generation in the whole world prefer to read something about the future. Something, that can help to understand of what will be next. And that is why, one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broads our mind horizons.&lt;br /&gt;
&lt;br /&gt;
====1.Liu Cixin（刘慈欣）====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).(Alexandra Alter,How Chinese Sci-Fi Conquered America 2019, 1)&lt;br /&gt;
&lt;br /&gt;
Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. &lt;br /&gt;
&lt;br /&gt;
Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel &amp;quot;Supernova Era&amp;quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.(Liu Cixin, Supernova Era 2019,352)&lt;br /&gt;
&lt;br /&gt;
Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &amp;quot;Memory of the Earth's Past&amp;quot; - the novel &amp;quot;The Problem of Three Bodies&amp;quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &amp;quot;The Three-Body Problem,&amp;quot; although this is not formally true.&lt;br /&gt;
&lt;br /&gt;
In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.&lt;br /&gt;
&lt;br /&gt;
Liu Cixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.&lt;br /&gt;
&lt;br /&gt;
====2.Chen Qiufan (陈楸帆） ====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.&lt;br /&gt;
&lt;br /&gt;
Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.&lt;br /&gt;
&lt;br /&gt;
His debut book was ''The Empty Wave'', &amp;quot;combining realism and allegory to represent the hybridity of humans and machines.&amp;quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.&lt;br /&gt;
 &lt;br /&gt;
His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.&lt;br /&gt;
&lt;br /&gt;
====3.Rebecca F. Kuang (匡蘦秀)====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.&lt;br /&gt;
&lt;br /&gt;
Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.&lt;br /&gt;
&lt;br /&gt;
Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.&lt;br /&gt;
&lt;br /&gt;
Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
1. Science fiction - 科幻&lt;br /&gt;
&lt;br /&gt;
2. Fantasy - 奇幻&lt;br /&gt;
&lt;br /&gt;
3. Horizon - 地平线&lt;br /&gt;
&lt;br /&gt;
4. Broad - 拓宽&lt;br /&gt;
&lt;br /&gt;
5. Hybrid - 杂种&lt;br /&gt;
&lt;br /&gt;
6. The plot - 情节&lt;br /&gt;
&lt;br /&gt;
7. Garbage - 垃圾堆&lt;br /&gt;
&lt;br /&gt;
8. Heyday - 壮年&lt;br /&gt;
&lt;br /&gt;
9. Supernova - 超新星&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What was the first book written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
2. What is the most popular trilogy of books written by Liu Cixin?&lt;br /&gt;
&lt;br /&gt;
3. Who is called as Chinese William Gibson?&lt;br /&gt;
&lt;br /&gt;
4. What is Rebecca Quang's Opium War plot based on?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Supernova Era&lt;br /&gt;
&lt;br /&gt;
2. Memory of the Earth's Past&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan (陈楸帆）&lt;br /&gt;
&lt;br /&gt;
4. The plot is largely based on the history of China in the middle of the 20th century.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1. Alexandra Alter,How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html&lt;br /&gt;
&lt;br /&gt;
2. Liu Cixin, Supernova Era, 2019. 352 pp.&lt;br /&gt;
&lt;br /&gt;
3. Chen Qiufan, Waste Tide, 2019. 342 pp.&lt;br /&gt;
&lt;br /&gt;
4. Rebecca F.Kuang, The Poppy War,2018. 530 pp.&lt;br /&gt;
&lt;br /&gt;
==Stilts - Chen Yongxiang 陈永相==&lt;br /&gt;
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
&lt;br /&gt;
===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
Stilt is one of the folk dances of the Han nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.&lt;br /&gt;
&lt;br /&gt;
As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.&lt;br /&gt;
&lt;br /&gt;
The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.&lt;br /&gt;
&lt;br /&gt;
Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.&lt;br /&gt;
&lt;br /&gt;
There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
Miliangtun (village name) 米粮屯&lt;br /&gt;
&lt;br /&gt;
stilts 高跷&lt;br /&gt;
&lt;br /&gt;
intangible cultural heritage 非物质文化遗产&lt;br /&gt;
&lt;br /&gt;
folk dance 民间舞蹈&lt;br /&gt;
&lt;br /&gt;
Toutou 陀头&lt;br /&gt;
&lt;br /&gt;
Laozuozi 老坐子 &lt;br /&gt;
&lt;br /&gt;
young boy 小二哥&lt;br /&gt;
&lt;br /&gt;
young master 公子&lt;br /&gt;
&lt;br /&gt;
Mr.Plaster 药先生&lt;br /&gt;
&lt;br /&gt;
Choupo 丑婆&lt;br /&gt;
&lt;br /&gt;
fisherman渔翁&lt;br /&gt;
&lt;br /&gt;
Yupo 渔婆 &lt;br /&gt;
&lt;br /&gt;
wood-cutter 柴翁&lt;br /&gt;
&lt;br /&gt;
handsome and ugly drum-players 俊鼓和丑鼓&lt;br /&gt;
&lt;br /&gt;
handsome and ugly gong-players 俊锣和丑锣&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Where does Miliangtun Village Stilts originate?&lt;br /&gt;
&lt;br /&gt;
2. How many years of history does Miliangtun Village Stilts have?&lt;br /&gt;
&lt;br /&gt;
3. How many roles in Miliangtun Village Stilts?&lt;br /&gt;
&lt;br /&gt;
4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?&lt;br /&gt;
&lt;br /&gt;
5. How long is the shortest and the longest stilts?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Answers====&lt;br /&gt;
&lt;br /&gt;
1. Wangzuo Town, Fengtai District, Beijing.&lt;br /&gt;
&lt;br /&gt;
2. More than 250 years.&lt;br /&gt;
&lt;br /&gt;
3. 13.&lt;br /&gt;
&lt;br /&gt;
4. In 2006.&lt;br /&gt;
&lt;br /&gt;
5. The shortest stilt is two feet long, and the longest reaches over five feet.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chinese Lion Dancing - Ding Daifeng 丁代凤==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)&lt;br /&gt;
&lt;br /&gt;
When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.&lt;br /&gt;
&lt;br /&gt;
There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)&lt;br /&gt;
&lt;br /&gt;
In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
===Northern lion dancing===&lt;br /&gt;
&lt;br /&gt;
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
===Southern lion dancing===&lt;br /&gt;
&lt;br /&gt;
Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)&lt;br /&gt;
&lt;br /&gt;
In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Western Regions 西域&lt;br /&gt;
&lt;br /&gt;
mount 坐骑&lt;br /&gt;
&lt;br /&gt;
Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
&lt;br /&gt;
gong 锣&lt;br /&gt;
&lt;br /&gt;
northern lion dancing 南狮&lt;br /&gt;
&lt;br /&gt;
southern lion dancing 北狮&lt;br /&gt;
&lt;br /&gt;
colorful silk ball 绣球&lt;br /&gt;
&lt;br /&gt;
wooden stakes 木桩&lt;br /&gt;
&lt;br /&gt;
spiritual resemblance神似&lt;br /&gt;
&lt;br /&gt;
Liu Bei lion 刘备狮&lt;br /&gt;
&lt;br /&gt;
Guan Gong lion 关公狮&lt;br /&gt;
&lt;br /&gt;
Zhang Fei lion 张飞狮&lt;br /&gt;
&lt;br /&gt;
sworn brothers 结义兄弟&lt;br /&gt;
&lt;br /&gt;
horse stances 马步&lt;br /&gt;
&lt;br /&gt;
Cai Qing 采青&lt;br /&gt;
&lt;br /&gt;
lettuces 生菜&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. How long is the history of lion dance in China?&lt;br /&gt;
&lt;br /&gt;
2. Why did people gradually accept lion as a sacred animal?&lt;br /&gt;
&lt;br /&gt;
3. Why did people use lion dance to celebrate the New Year?&lt;br /&gt;
&lt;br /&gt;
4. What is the main difference between southern lion dancing and northern lion dancing?&lt;br /&gt;
&lt;br /&gt;
5. What is the center of southern lion dancing?&lt;br /&gt;
&lt;br /&gt;
6. How many colors are there in the heads of southern lions? And what are they?&lt;br /&gt;
&lt;br /&gt;
7. What is “Cai Qing”? And what do you know about “Cai Qing”?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. It is with a history of about 2000 years.&lt;br /&gt;
&lt;br /&gt;
2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.&lt;br /&gt;
&lt;br /&gt;
3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
&lt;br /&gt;
4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.&lt;br /&gt;
&lt;br /&gt;
5. It is in southern China’s Guangdong province.&lt;br /&gt;
&lt;br /&gt;
6. The head of southern lion has three colors, namely black, red and yellow.&lt;br /&gt;
&lt;br /&gt;
7. It means &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.&lt;br /&gt;
&lt;br /&gt;
Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.&lt;br /&gt;
&lt;br /&gt;
Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.&lt;br /&gt;
&lt;br /&gt;
Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.&lt;br /&gt;
&lt;br /&gt;
==Literature, Tang-Song - Gan Fengyu 甘奉玉==&lt;br /&gt;
===A. The Eight Tang-Song Prose Masters===&lt;br /&gt;
[[File:Tang Song Ba Da Jia.jpg]]&lt;br /&gt;
&lt;br /&gt;
===Brief Introduction of The Eight Tang-Song Prose Masters===&lt;br /&gt;
&lt;br /&gt;
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong. （Zhou Zhenfu 2016, 25） &lt;br /&gt;
In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)&lt;br /&gt;
&lt;br /&gt;
'''1. Han Yu'''&lt;br /&gt;
[[File:Han Yu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. (Hou Benta 2014, 135)&lt;br /&gt;
Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)&lt;br /&gt;
&lt;br /&gt;
'''2. Liu Zongyuan'''&lt;br /&gt;
[[File:Liu Zongyuan.jpg]]&lt;br /&gt;
&lt;br /&gt;
Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong &amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as&amp;quot; Liu Liuzhou &amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .&lt;br /&gt;
He was juxtaposed with Han Yu as &amp;quot;Han Liu &amp;quot;, with Liu Yuxi as &amp;quot; Liu Liu &amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu &amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives. (Zhou Zhenfu 2016, 26)&lt;br /&gt;
He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation. (Zhangjian 2019, 1)&lt;br /&gt;
&lt;br /&gt;
'''3. Ouyang Xiu'''&lt;br /&gt;
[[File:Ouyang Xiu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.&lt;br /&gt;
Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.&lt;br /&gt;
Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height. (Hou Benta 2014, 136)&lt;br /&gt;
&lt;br /&gt;
'''4. Su Xun'''&lt;br /&gt;
[[File:Su Xun.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.&lt;br /&gt;
Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world &amp;quot;, to&amp;quot; apply to the present &amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. (Zhou Zhenfu, 2016, 27)&lt;br /&gt;
  &lt;br /&gt;
'''5. Su Shi'''&lt;br /&gt;
[[File:Su Shi.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .&lt;br /&gt;
Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.(Zhou Zhenfu 2016, 28)&lt;br /&gt;
Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage. (Zhangjian 2019, 1)Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.&lt;br /&gt;
&lt;br /&gt;
'''6. Su Zhe'''&lt;br /&gt;
[[File:Su Zhe.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.&lt;br /&gt;
Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States.  From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &amp;quot;Ode to Ink bamboo&amp;quot;.(Zhou Zhenfu 2016, 29)&lt;br /&gt;
&lt;br /&gt;
'''7. Wang Anshi'''&lt;br /&gt;
[[File:Wang Anshi.jpg]]&lt;br /&gt;
&lt;br /&gt;
Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .&lt;br /&gt;
Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use. (Zhou Zhenfu 2016, 30)&lt;br /&gt;
&lt;br /&gt;
'''8. Zeng Gong'''&lt;br /&gt;
[[File:Zeng Gong.jpg]]&lt;br /&gt;
&lt;br /&gt;
Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. (Zhangjian 2019,1) His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. (Zhou Zhenfu 2016,31) His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.&lt;br /&gt;
&lt;br /&gt;
'''9. Comparison between the Ancient Prose Movement and Renaissance'''&lt;br /&gt;
Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.(Lu Sihong 2016, 71)&lt;br /&gt;
&lt;br /&gt;
Comparison in ideology:&lt;br /&gt;
The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. (Wang Yaping 2001, 8)Their premise and foundation are their own classical thoughts.&lt;br /&gt;
&lt;br /&gt;
Comparison in writing style:&lt;br /&gt;
The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.(Lu Sihong 2016, 76)&lt;br /&gt;
&lt;br /&gt;
Comparison in literary form:&lt;br /&gt;
The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. (He Lei 2017, 159) While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&amp;quot; Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
The Eight Tang-Song Prose Masters 唐宋八大家&lt;br /&gt;
 &lt;br /&gt;
Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》&lt;br /&gt;
&lt;br /&gt;
Ancient Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
parallel prose 骈文&lt;br /&gt;
&lt;br /&gt;
The Decline of Eight Generations 文起八代之衰&lt;br /&gt;
&lt;br /&gt;
The Article Giant 文章巨公&lt;br /&gt;
&lt;br /&gt;
Admired Literate of One Hundred Generations 百代文宗&lt;br /&gt;
&lt;br /&gt;
Han Changli Collection 《韩昌黎集》&lt;br /&gt;
&lt;br /&gt;
External collection 《外集》&lt;br /&gt;
&lt;br /&gt;
The Teacher's Theory《师说》&lt;br /&gt;
&lt;br /&gt;
Pre-Qin and Han Dynasties 先秦两汉时期&lt;br /&gt;
&lt;br /&gt;
writing in classical Chinese 文言文&lt;br /&gt;
&lt;br /&gt;
feudal provincial of Liuzhou 柳州刺史&lt;br /&gt;
&lt;br /&gt;
official supervisor of imperial censor 监察御史&lt;br /&gt;
&lt;br /&gt;
Liu He Dong Colloection 《柳河东集》&lt;br /&gt;
&lt;br /&gt;
Northern Song Dynasty 北宋&lt;br /&gt;
&lt;br /&gt;
a thousand volumes of collections of inscriptions 金石遗文一千卷&lt;br /&gt;
&lt;br /&gt;
Xia, Shang, Zhou Dynasties 三代&lt;br /&gt;
&lt;br /&gt;
the crown of that time 一时之冠&lt;br /&gt;
&lt;br /&gt;
Southern Tang Dynasty 南唐&lt;br /&gt;
&lt;br /&gt;
Yu Feng 余风&lt;br /&gt;
&lt;br /&gt;
The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》&lt;br /&gt;
&lt;br /&gt;
the Northern Song Dynasty poetry innovation movement北宋诗文革新运动&lt;br /&gt;
&lt;br /&gt;
Heng Lun 《衡论》&lt;br /&gt;
&lt;br /&gt;
Duke Jingguo 荆国公&lt;br /&gt;
 &lt;br /&gt;
The Book to the Emperor 《上皇帝书》&lt;br /&gt;
&lt;br /&gt;
Dongpo Jushi 东坡居士&lt;br /&gt;
&lt;br /&gt;
Ci writer 词人&lt;br /&gt;
&lt;br /&gt;
Unconstrained Ci School豪放派&lt;br /&gt;
&lt;br /&gt;
literary and artistic attainments 文学艺术造诣&lt;br /&gt;
&lt;br /&gt;
the first all-round talent in ancient China 中国古代第一全才&lt;br /&gt;
&lt;br /&gt;
Su Men Four bachelors 苏门四学士&lt;br /&gt;
&lt;br /&gt;
the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》&lt;br /&gt;
&lt;br /&gt;
The New Theory《新论》&lt;br /&gt;
&lt;br /&gt;
On the Six Kingdoms 《六国论》&lt;br /&gt;
&lt;br /&gt;
Ode 赋&lt;br /&gt;
&lt;br /&gt;
The Ode to Ink bamboo 《墨竹赋》&lt;br /&gt;
&lt;br /&gt;
Seven Zengs of Nanfeng 南丰七曾&lt;br /&gt;
&lt;br /&gt;
the doctrine before the text先道后文&lt;br /&gt;
&lt;br /&gt;
the Book to Ouyang She Ren 《上欧阳舍人书》&lt;br /&gt;
&lt;br /&gt;
the Book to Bachelor Cai 《上蔡学士书》&lt;br /&gt;
&lt;br /&gt;
the Six Dynasties 六朝&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
1.Who are the pioneers of the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2.Which kind of prose they advocate in the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
3.Do you know any representatives of Liu Zongyuan?&lt;br /&gt;
&lt;br /&gt;
4.Why Ouyang Xiu is called &amp;quot;Liu Yi Scholar&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
5.What’s the relationship among Su Xun, Su Shi and Su Zhe?&lt;br /&gt;
&lt;br /&gt;
6.Who are the &amp;quot;Seven Zengs of Nanfeng&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
7.Do you know any about the Renaissance?&lt;br /&gt;
&lt;br /&gt;
===D. Answers===&lt;br /&gt;
&lt;br /&gt;
1.Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2.The prose of Pre-Qin and Han Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.The &amp;quot;Liu He Dong Colloection&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.&lt;br /&gt;
&lt;br /&gt;
5.Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.&lt;br /&gt;
&lt;br /&gt;
6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
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7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.&lt;br /&gt;
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===References===&lt;br /&gt;
[1]Fang Wenben 房本文. (2013). 士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.&lt;br /&gt;
&lt;br /&gt;
[2] Hou Benta 候本塔. (2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.&lt;br /&gt;
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[3]He Lei 何蕾. (2017). 中唐古文运动:社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.&lt;br /&gt;
&lt;br /&gt;
[4]Lu Sihong 芦思宏. (2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.&lt;br /&gt;
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[5]Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.&lt;br /&gt;
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[6] Zhangjian 张剑. (2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).&lt;br /&gt;
&lt;br /&gt;
[7]Zhangjian 张剑. (2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).&lt;br /&gt;
&lt;br /&gt;
[8]Zhao Kun 赵鲲. (2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.&lt;br /&gt;
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[9]Zhou Zhenfu 周振甫. (2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.&lt;br /&gt;
&lt;br /&gt;
==Music, Instruments, Pipa - Gao Mingzhu 高明珠==&lt;br /&gt;
Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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'''1. A Brief Introduction'''&lt;br /&gt;
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Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.&lt;br /&gt;
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Pipa, a traditional plucked instrument in East Asia, has a history of more than two thousand years. The earliest instrument called &amp;quot;pipa&amp;quot; appeared around Qin Dynasty in China. The part &amp;quot;王王&amp;quot; of pipa(琵琶) means &amp;quot;two jade touch each other and make a pleasant sound &amp;quot;, indicating that it is a musical instrument that sounds by playing the strings. The Chinese character &amp;quot;pa(琶)&amp;quot; is derived from the right-handed technique used to play these instruments. That is to say, pi(琵) and pa(琶) is the name of the two playing techniques, pi(琵) means using the fingers of the right hand to pluck the strings forward and pa(琶) back.&lt;br /&gt;
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'''2.The Development of Pipa'''&lt;br /&gt;
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The development of The Chinese pipa has gone through four stages: first, the Qu Xiang pipa（curving-neck pipa） was introduced into China in the Eastern Jin Dynasty and became an important musical instrument; In the second stage, the art of pipa reached its peak in the Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Chinesization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade, expand the range; In the fourth stage, large-scale pipa divertimentoes were further developed in the Ming and Qing Dynasties.(Deng Sijia 2020,10)&lt;br /&gt;
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During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the south, especially the south of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong western characteristics. In the western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its way of playing was unchained and heroic. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one kind playing skill in playing pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style .(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the audience of pipa performance has changed from small to popular. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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During the Ming and Qing Dynasties, the way people playing pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty.(Zhou Xianshun, Zhang Yuying 2018,16)&lt;br /&gt;
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'''3.Pipa Schools and Their Chracteristics'''&lt;br /&gt;
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The main reason for the formation of various Pipa schools in China was that the southwards moving of economic center in ancient China which made the pipa school be divided into the North school and the South school. Later, the North school collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)&lt;br /&gt;
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(1)The Wuxi school&lt;br /&gt;
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The Wuxi school belongs to the original North school, and is different from the South school in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi school was not as influential as the South school, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)&lt;br /&gt;
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(2)The Pinghu school&lt;br /&gt;
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The most distinctive performing techniques of the pipa are the Pinghu school's tremolo of the right hand fingers. It also has other characteristic techniques such as &amp;quot; paired butterfly flying&amp;quot; .(Deng Sijia 2020,10)&lt;br /&gt;
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(3)The Pudong School &lt;br /&gt;
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Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)&lt;br /&gt;
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(4)The Chongming school&lt;br /&gt;
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The Chongming school also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming school pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)&lt;br /&gt;
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(5)The Shanghai school&lt;br /&gt;
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This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)&lt;br /&gt;
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'''4.Traditional Pipa Music'''&lt;br /&gt;
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Traditional pipa music can be divided into military songs, literary songs and military-literary songs.&lt;br /&gt;
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Military song emphasizes the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs. The representative repertoires are &amp;quot;Ambush on All Sides&amp;quot;, &amp;quot;Bury Me High&amp;quot;, &amp;quot;Hai Qing Hunting the Swan&amp;quot;, &amp;quot;General Order in the Han Dynasty&amp;quot;.&lt;br /&gt;
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Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone. Its representative repertoires are &amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; and so on.&lt;br /&gt;
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Military-literary song is the combination of martial song and literary song. The representative songs are &amp;quot;The Spring Snow&amp;quot;, &amp;quot;High Mountain and Flowing Water&amp;quot;, &amp;quot;Dragon Boat&amp;quot;, &amp;quot;Flute and Drum at Sunset&amp;quot; and so on.&lt;br /&gt;
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'''5.Refferences'''&lt;br /&gt;
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[1]邓思佳. 中国琵琶流派问题及特征[Schools and characteristics of Chinese pipa][J]. 艺术家,2020,(10):56.&lt;br /&gt;
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[3]周显顺,张玉莹. 浅谈琵琶演奏的发展史[A brief analysis of the development of the playing of pipa][J]. 黄河之声,2018,(16):56.&lt;br /&gt;
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'''6.Terms and Expressions'''&lt;br /&gt;
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弹拨乐器—plucked instruments&lt;br /&gt;
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汉化—Chinesization&lt;br /&gt;
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套曲—divertimentoes&lt;br /&gt;
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游牧民族—nomad tribe&lt;br /&gt;
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宫廷乐—court music&lt;br /&gt;
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轮指法—tremolo&lt;br /&gt;
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音色—timbre&lt;br /&gt;
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曲目—repertoire&lt;br /&gt;
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并弦—parallel string&lt;br /&gt;
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指法—fingering techniques&lt;br /&gt;
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'''7.Questions'''&lt;br /&gt;
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1、How many stages did pipa go through during its development?&lt;br /&gt;
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2、What characteristics did pipa have during Wei and Jin dynasties?&lt;br /&gt;
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3、What changes had been made to pipa during Ming and Qing dynasties?&lt;br /&gt;
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4、How many schools does pipa have and what are they?&lt;br /&gt;
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5、Can you list at least 3 representative repertoires of literary songs played by pipa? &lt;br /&gt;
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'''8.Answers'''&lt;br /&gt;
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1、Four.&lt;br /&gt;
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2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.&lt;br /&gt;
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3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics. &lt;br /&gt;
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4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.   &lt;br /&gt;
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5、&amp;quot;Flute and Drum at Sunset&amp;quot;, &amp;quot;Zhao Jun Going Abroad&amp;quot;, &amp;quot;Autumn Moon over Han Palace&amp;quot;, &amp;quot;The Lofty Moon&amp;quot;, &amp;quot;The Green Lotus&amp;quot;, &amp;quot;Whisper from Pipa&amp;quot;, &amp;quot;Frontier Songs&amp;quot; .&lt;br /&gt;
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==Huli-jing - Grosheva, Anna==&lt;br /&gt;
=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === &lt;br /&gt;
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The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?&lt;br /&gt;
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'''1. Huli-jing (狐狸精) in China'''&lt;br /&gt;
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First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.&lt;br /&gt;
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People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.&lt;br /&gt;
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Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.&lt;br /&gt;
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The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.&lt;br /&gt;
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Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.&lt;br /&gt;
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &amp;quot;Good Hunt&amp;quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.&lt;br /&gt;
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In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &amp;quot;Painted Skin (畫皮)&amp;quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.&lt;br /&gt;
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In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.&lt;br /&gt;
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Quite a lot of information about werewolf foxes can be obtained from the TV series &amp;quot;The Legend of the Nine-Tailed Fox&amp;quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.&lt;br /&gt;
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Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.&lt;br /&gt;
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The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.&lt;br /&gt;
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'''2. Kitsune (キツネ) in Japan''' &lt;br /&gt;
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In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&amp;quot;Fox-messenger&amp;quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.&lt;br /&gt;
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Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.&lt;br /&gt;
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Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.&lt;br /&gt;
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A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. &lt;br /&gt;
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'''3. Kumiho (구미호) in Korea'''&lt;br /&gt;
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Kumiho - (구 &amp;quot;ku&amp;quot; - nine, 미 &amp;quot;mi&amp;quot; - tail, 호 &amp;quot;ho&amp;quot; - fox - &amp;quot;fox with nine tails&amp;quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.&lt;br /&gt;
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In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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Shape shifter – 成精&lt;br /&gt;
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Creature –生物&lt;br /&gt;
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Seductive –诱人的&lt;br /&gt;
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Damnation –诅咒&lt;br /&gt;
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Metaphor –隐喻&lt;br /&gt;
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Ascribe –属性&lt;br /&gt;
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Indigenous –土着&lt;br /&gt;
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Deity – 反面人物&lt;br /&gt;
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Liver – 肝脏&lt;br /&gt;
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===References===&lt;br /&gt;
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Pu Song-ling. (2008). Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.&lt;br /&gt;
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Liu, Ken. (2012). Good Hunting.// Strange Horizons. - 2012. - p. 431.&lt;br /&gt;
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Kang Xiaofei. (2006). The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.&lt;br /&gt;
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===Questions===&lt;br /&gt;
==Chinese Characters - Gu Dongfang 顾东方==&lt;br /&gt;
Chinese Characters&lt;br /&gt;
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===Origin===&lt;br /&gt;
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Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written language in the world, dating back approximately five thousand years.According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）&lt;br /&gt;
&lt;br /&gt;
===Evolution of Chinese characters===&lt;br /&gt;
[[File:Character_Yuu_Semi.jpg|160px|thumb|right|A Dinging Table]]&lt;br /&gt;
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)&lt;br /&gt;
&lt;br /&gt;
===Ancient Chinese characters===&lt;br /&gt;
&lt;br /&gt;
====Oracle bone script====&lt;br /&gt;
&lt;br /&gt;
Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). It was first excavated by the local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).&lt;br /&gt;
&lt;br /&gt;
====Bronze script====&lt;br /&gt;
&lt;br /&gt;
In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear words we use today.&lt;br /&gt;
&lt;br /&gt;
====Seal script====&lt;br /&gt;
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. &lt;br /&gt;
The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.&lt;br /&gt;
&lt;br /&gt;
===Modern characters===&lt;br /&gt;
====Clerical script====&lt;br /&gt;
&lt;br /&gt;
After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late of the Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang.&lt;br /&gt;
From the clerical change to the present, it has been more than 2,200 years. This the period in the historical development of Chinese characters is still called modern because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization.&lt;br /&gt;
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====Regular script====&lt;br /&gt;
&lt;br /&gt;
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people generation after generation even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.&lt;br /&gt;
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===Formation of Chinese characters===&lt;br /&gt;
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====Pictograms====&lt;br /&gt;
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Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for &amp;quot;sun,&amp;quot; 月 (yuè) for &amp;quot;moon,&amp;quot; and 木 (mù) for &amp;quot;tree.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
====Pictophonetic compounds====&lt;br /&gt;
&lt;br /&gt;
Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.&lt;br /&gt;
&lt;br /&gt;
====Ideograph ====&lt;br /&gt;
&lt;br /&gt;
Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for &amp;quot;knife,&amp;quot; placing an indicator in the knife makes 刃 (rèn), an ideogram for &amp;quot;blade.&amp;quot; Other common examples are 上 (shàng) for &amp;quot;up&amp;quot; and 下 (xià) for &amp;quot;down.&amp;quot; This category is small, as most concepts can be represented by characters in other categories.&lt;br /&gt;
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====Logical aggregates====&lt;br /&gt;
&lt;br /&gt;
Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng)  bright,  which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.&lt;br /&gt;
&lt;br /&gt;
====Associate transformation====&lt;br /&gt;
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Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning &amp;quot;elderly person,&amp;quot; but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.&lt;br /&gt;
&lt;br /&gt;
====Borrowing ====&lt;br /&gt;
&lt;br /&gt;
Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin)&lt;br /&gt;
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===Simplification of Chinese characters===&lt;br /&gt;
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The use of traditional Chinese characters versus simplified Chinese characters varies greatly, and can depend on both the local customs and the medium. Before the official reform, character simplifications were not officially sanctioned and generally adopted vulgar variants and idiosyncratic substitutions. Orthodox variants were mandatory in printed works, while the (unofficial) simplified characters would be used in everyday writing or quick notes. Since the 1950s, and especially with the publication of the 1964 list, the People's Republic of China has officially adopted simplified Chinese characters for use in mainland China, while Hong Kong, Macau, and the Republic of China (Taiwan) were not affected by the reform. There is no absolute rule for using either system, and often it is determined by what the target audience understands, as well as the upbringing of the writer.(简化字的昨天、今天和明天. Archived from the original on 14 July 2011. Retrieved 17 January 2010.)&lt;br /&gt;
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===Terms and expressions===&lt;br /&gt;
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1.Oracle Bone Inscriptions  甲骨文&lt;br /&gt;
&lt;br /&gt;
2.Bronze Inscriptions 金文&lt;br /&gt;
&lt;br /&gt;
3.Small seal characters 小篆&lt;br /&gt;
&lt;br /&gt;
4.Official script 隶书&lt;br /&gt;
&lt;br /&gt;
5.Regular script 楷书&lt;br /&gt;
&lt;br /&gt;
6.Cursive writing 草书&lt;br /&gt;
&lt;br /&gt;
7.Cang Jie 仓颉&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8.Clerical script 楷书&lt;br /&gt;
&lt;br /&gt;
9.Su Shi 苏轼&lt;br /&gt;
&lt;br /&gt;
10. Wang Xizhi 王羲之&lt;br /&gt;
&lt;br /&gt;
11.Ou Yangxun 欧阳询&lt;br /&gt;
&lt;br /&gt;
12.Yan Zhenqing 颜真卿&lt;br /&gt;
&lt;br /&gt;
13.Pictograms 象形&lt;br /&gt;
&lt;br /&gt;
14. Pictophonetic compounds 指事&lt;br /&gt;
&lt;br /&gt;
15.Ideograph 会意&lt;br /&gt;
&lt;br /&gt;
16.Logical aggregates 形声&lt;br /&gt;
&lt;br /&gt;
17.Associate transformation 转注&lt;br /&gt;
&lt;br /&gt;
18.Borrowing 假借&lt;br /&gt;
&lt;br /&gt;
===Question===&lt;br /&gt;
1.How many Chinese characters are there?&lt;br /&gt;
&lt;br /&gt;
2.How many letters are in the Chinese alphabet?&lt;br /&gt;
&lt;br /&gt;
3. How many formations of Chinese characters? What are they?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .&lt;br /&gt;
&lt;br /&gt;
2. There are 26 letters in Chinese alphabet.&lt;br /&gt;
&lt;br /&gt;
3. Six formations are included in Chinese characters system, and they are Pictograms&lt;br /&gt;
Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
1.王显春. 汉字的起源[M]. 学林出版社, 2002.&lt;br /&gt;
&lt;br /&gt;
2.刘又辛. &amp;quot;关于汉字发展史的几个问题(上).&amp;quot; 语文建设 12(1998):34-37.&lt;br /&gt;
&lt;br /&gt;
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188&lt;br /&gt;
&lt;br /&gt;
4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia,  https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.&lt;br /&gt;
&lt;br /&gt;
==Chinese Knots - Guan Qinqing 管钦清==&lt;br /&gt;
&lt;br /&gt;
===A.Chinese Knots===&lt;br /&gt;
&lt;br /&gt;
====1.A Brief Introduction about Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It &lt;br /&gt;
&lt;br /&gt;
originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.&lt;br /&gt;
&lt;br /&gt;
The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.&lt;br /&gt;
 &lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
&lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional  decoration and aesthetics,which &lt;br /&gt;
&lt;br /&gt;
earned the knot its name.&lt;br /&gt;
&lt;br /&gt;
====2.The Classification of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥&lt;br /&gt;
&lt;br /&gt;
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井&lt;br /&gt;
&lt;br /&gt;
结）,Cross Knot(十字结） and Ping Knot（平结）.&lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. &lt;br /&gt;
&lt;br /&gt;
=====2.1.The Double Coin Knot=====&lt;br /&gt;
&lt;br /&gt;
Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views &lt;br /&gt;
&lt;br /&gt;
on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only &lt;br /&gt;
&lt;br /&gt;
represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &amp;quot;luck money&amp;quot;. Therefore, for &lt;br /&gt;
&lt;br /&gt;
the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes &lt;br /&gt;
&lt;br /&gt;
&amp;quot;good things come in pairs&amp;quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful &lt;br /&gt;
&lt;br /&gt;
patterns, such as clouds and Perfect Knots，etc.&lt;br /&gt;
&lt;br /&gt;
=====2.2.The Good Luck Knot=====&lt;br /&gt;
&lt;br /&gt;
As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.&lt;br /&gt;
&lt;br /&gt;
And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.&lt;br /&gt;
&lt;br /&gt;
=====2.3.The Pan Chang Knot=====&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the &lt;br /&gt;
&lt;br /&gt;
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is &lt;br /&gt;
&lt;br /&gt;
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.&lt;br /&gt;
&lt;br /&gt;
====3.The Knitting Method of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of  basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.&lt;br /&gt;
&lt;br /&gt;
The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.&lt;br /&gt;
&lt;br /&gt;
====4.The Cultural Connotations of Chinese Knots====&lt;br /&gt;
&lt;br /&gt;
Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of &lt;br /&gt;
&lt;br /&gt;
rope and thread.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. In addition, Chinese people are descendants of &lt;br /&gt;
&lt;br /&gt;
dragons.Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &lt;br /&gt;
&lt;br /&gt;
&amp;quot;knot&amp;quot;, which means reunion and happiness. Many of the Chinese words composed of &amp;quot;结&amp;quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交&lt;br /&gt;
&lt;br /&gt;
（making friends), and 永结同心（tie the knot),etc. &amp;quot;结&amp;quot;(knot) is also homonymous with &amp;quot;吉&amp;quot;（ausipiciousness), so people even think that &amp;quot;knot&amp;quot; is a symbol of good luck.&lt;br /&gt;
&lt;br /&gt;
====5.Comparisons between Chinese Knots and Cross Necklaces====&lt;br /&gt;
&lt;br /&gt;
=====5.1.Different Cultural Connotations=====&lt;br /&gt;
&lt;br /&gt;
From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of &lt;br /&gt;
&lt;br /&gt;
Christianity. The cross, derived from the Latin &amp;quot;crux&amp;quot;, means &amp;quot;fork&amp;quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient &lt;br /&gt;
&lt;br /&gt;
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross &lt;br /&gt;
&lt;br /&gt;
ornaments in the west as cross necknaces are usually used to represent love and salvation.&lt;br /&gt;
&lt;br /&gt;
=====5.2.Different Shapes=====&lt;br /&gt;
&lt;br /&gt;
Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have &lt;br /&gt;
&lt;br /&gt;
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.&lt;br /&gt;
&lt;br /&gt;
====6.References====&lt;br /&gt;
&lt;br /&gt;
李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.&lt;br /&gt;
&lt;br /&gt;
李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.&lt;br /&gt;
&lt;br /&gt;
许星.路论中国结[J].丝绸,2004(02) : 46-47.&lt;br /&gt;
&lt;br /&gt;
邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.&lt;br /&gt;
&lt;br /&gt;
王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Double Coin Knot  双钱结&lt;br /&gt;
&lt;br /&gt;
Good Luck Knot 吉祥结&lt;br /&gt;
&lt;br /&gt;
Chinese Button Knot 纽扣结&lt;br /&gt;
&lt;br /&gt;
Sauvastika Knot 万字结&lt;br /&gt;
&lt;br /&gt;
Oxalis Knot 酢浆草结&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot 盘长结&lt;br /&gt;
&lt;br /&gt;
Round Brocade Knot 团锦结&lt;br /&gt;
&lt;br /&gt;
Caisson Celling Knot 藻井结&lt;br /&gt;
&lt;br /&gt;
Cross Knot 十字结&lt;br /&gt;
&lt;br /&gt;
Ping Knot 平结&lt;br /&gt;
&lt;br /&gt;
tie the knot 永结同心&lt;br /&gt;
&lt;br /&gt;
luck money 压岁钱&lt;br /&gt;
&lt;br /&gt;
the bishop's identity 主教职权&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the Chinese knot?&lt;br /&gt;
&lt;br /&gt;
2. Do you know the names of the main Chinese knots? What are they?&lt;br /&gt;
&lt;br /&gt;
3. What do &amp;quot;绳&amp;quot; and &amp;quot;结&amp;quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
==Civilisation, Chinese Mythology, Guirou, Barthelemy, 201921080010==&lt;br /&gt;
&lt;br /&gt;
[[File:Chinese Mythology.jpg|thumb|right|Panku]]&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
The Chinese’s life is full of mythological history about religious, history, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, force and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology.(Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.&lt;br /&gt;
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===A. Panku Created the World===&lt;br /&gt;
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In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and try to calm down. Therefore, the sky and the earth were created. His body was well-formed with giant muscular and the size of his body was about ninety thousand li (about thirty thousand miles), (Su Shuyang 2010, 4).&lt;br /&gt;
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At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands to farther away from the sky. As time was passing, the sky and earth become farther from each other and the size of Panku increasing within. The size of Panku became enormous, 90,000 &amp;quot;li&amp;quot; (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine- Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the world. He struggled for ten thousand years until the sky and earth was completely separated into the forces of yin (dark) and yang (light), (Su Shuyang 2010, 4).&lt;br /&gt;
Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper); his sweat and tear represent the rain; his voice represent thunder and lightning and his breath represent winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a landscape.&lt;br /&gt;
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===B. NuWa Created Human Beings===&lt;br /&gt;
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[[File:Picture 2.jpg|thumb|right|Fushi and Nuwa]]&lt;br /&gt;
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Nuwa, was created out of earth from Panku flesh, was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).&lt;br /&gt;
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As she was the only human living beings in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable to her world. Thus, she was seated down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, sing, dancing, laughing and endowed with a human beings capacity (Su Shuyang 2010, 5, 6). Nuwa was very happy with her news creatures who surrounding him by crying our Mum. Then, she continued to create days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc.&lt;br /&gt;
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During a long period of years, Nuwa and her creatures were living together without any particular distinction about man and woman and any marriage. As time was passing; people were getting old and dying one after other, so, Nuwa started to worry about her offspring, what the world will be after all the men would have died. Nuwa then divided men and women and taught them marriage and how to reproduce between couples in order the lineage of mankind will never end. She gave her best wishes and advises to human beings, and since then, people continue to marry and give birth.&lt;br /&gt;
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===C. Fushi Taught the People=== &lt;br /&gt;
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In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. Fushi was the first who taught to people how to survival on the earth such as: hunting, using fire, writing etc. (Irene Dea Collier,2001, 33). In some stories Fushi was the husband of Nuwa, whereas in some other it wasn’t. Anyway they are an important figures of Chinese civilization .&lt;br /&gt;
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Fushi noticed that the new world (people) couldn’t support to the difficulties of the life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could across mountain peaks to search food. Then, before people were eating raw meat or fish but Fushi showed them how to use fire by twirling two willow sticks together. Moreover, Fushi taught them many things including agriculture, breeding, security, music, healing and many else. As time was passing; Fushi getting old, and he knew that he could not live for ever , then he decided to create a system of writing &amp;quot;trigrams&amp;quot;,  in order people can learn and remember about his teachings for better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers (Irene Dea Collier 2001, 35, 36). This &amp;quot;trigrams&amp;quot; was also a mean to interpret future and consult oracle about the right ways to follow.&lt;br /&gt;
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Finally, Fushi gave his last gift (music) in order people  can live in harmony and peace after him. So, Fushi taught them how to make musical instrument and use it, a &amp;quot;pipa&amp;quot; (lute), (Irene Dea Collier 2001, 39).That is why, music has a great importance in Chinese history.  Each time we play music, it reminds us to Fushi great teachings. Fushi’s time took end on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. &lt;br /&gt;
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===D. Water War===&lt;br /&gt;
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Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory.  Historically, both have terrible tempers and described as a very big giants with different shapes, Gong  shown with a snake’s body and a human face with red hair. Meanwhile Zurong shown with a massive human body  with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001,44).&lt;br /&gt;
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Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and others gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of  the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but fortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities (Irene Dea Collier 2001, 48, 49).&lt;br /&gt;
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===E. Terms and Expressions===&lt;br /&gt;
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Chinese Mythology 中国神话&lt;br /&gt;
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Panku 盤古&lt;br /&gt;
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Yin/Yang 陰陽 / 阴阳&lt;br /&gt;
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Nuwa 女媧&lt;br /&gt;
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Fushi 伏羲&lt;br /&gt;
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Water War 水战&lt;br /&gt;
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===F. Questions and Answers===&lt;br /&gt;
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1. Why an egg a good symbol for the beginning of the world?&lt;br /&gt;
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Answer: Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.&lt;br /&gt;
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2. Why Nuwa decided to create human beings?&lt;br /&gt;
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Answer: Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.&lt;br /&gt;
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3. What did Fushi taught to people?&lt;br /&gt;
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Answer:  He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.&lt;br /&gt;
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4. What was the cause of Gong and Zurong’s war and who won?&lt;br /&gt;
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Answer: Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.&lt;br /&gt;
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===References===&lt;br /&gt;
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Su Shuyang. (2010).''CHINA: Insight Traditions and Culture''.(Youth Edition). DOLPHIN BOOKS China International Publishing Group.&lt;br /&gt;
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Irene Dea Collier. (2001). &amp;quot;Chinese Mythology&amp;quot;. Library of Congress Cataloging-in-Publication Data.&lt;br /&gt;
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https://pic.17qq.com/uploads/ijbphegbibz.jpeg&lt;br /&gt;
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https://images-na.ssl-images-amazon.com/images/I/71r%2B5ICusZL._AC_SX522_.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 06:05, 13 December 2020 (UTC)&lt;br /&gt;
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==Gods and Immortals - Gui Yizhi 桂一枝==&lt;br /&gt;
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===Chinese gods and immortals===&lt;br /&gt;
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====Chinese mythology system====&lt;br /&gt;
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Chinese mythology is mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices[1].&lt;br /&gt;
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Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, the ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology have its own system; Buddhist mythology originated from India[2].&lt;br /&gt;
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The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in the history, not even being an integrate system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Sparating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters)[3].&lt;br /&gt;
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Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &amp;quot;Way&amp;quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their books and give most of them official post, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, god of happiness, Luxing, Firmness Star, god of firmness and success in life and examinations, and Shòuxing , Longevity Star, who stands for a healthy and long life[4].&lt;br /&gt;
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At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quit differences according to the level of their Buddhist understanding and practice. The one with highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin, is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &amp;quot;most widely beloved Buddhist Divinity&amp;quot;with miraculous powers to assist all those who pray to her[5].&lt;br /&gt;
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====神 shén, 帝 dì and 仙 xiān====&lt;br /&gt;
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Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. dì, sometimes translated as &amp;quot;thearch&amp;quot;, implies a manifested or incarnate &amp;quot;godly&amp;quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;[6].&lt;br /&gt;
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There is another difference between Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life[7].&lt;br /&gt;
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====Eight immortals====&lt;br /&gt;
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The Eight Immortals are a group of legendary xian (&amp;quot;immortals&amp;quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &amp;quot;Covert Eight Immortals&amp;quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai[8].&lt;br /&gt;
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The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble . Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the normal scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming, like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism[9]. &lt;br /&gt;
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The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &amp;quot;The Eight Immortals cross the sea, each reveals its divine powers&amp;quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal[10].&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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immortals 仙              &lt;br /&gt;
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mythology 神话，神话学&lt;br /&gt;
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cosmology 宇宙论，宇宙观    &lt;br /&gt;
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monolithic 整体（式）的&lt;br /&gt;
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the Battle of Zhuolu 涿鹿之战&lt;br /&gt;
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pantheistic 泛神论的       &lt;br /&gt;
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polytheistic 多神论的&lt;br /&gt;
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Three Pure Ones 三清&lt;br /&gt;
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anthropomorphic 人格化的&lt;br /&gt;
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tutelary 守护神            &lt;br /&gt;
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deity 神&lt;br /&gt;
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Buddha 佛                 &lt;br /&gt;
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Shakyamuni 释迦牟尼&lt;br /&gt;
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Amitabha 阿弥陀佛         &lt;br /&gt;
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Amitāyus 无量寿佛&lt;br /&gt;
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celestial 天的            &lt;br /&gt;
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Bodhisattva 菩萨          &lt;br /&gt;
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Pure Land 极乐世界         &lt;br /&gt;
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vessels 法器&lt;br /&gt;
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Covert Eight Immortals 暗八仙    &lt;br /&gt;
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Taoist 道家的，道士&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1. What are the topics of the Ancient mythology?&lt;br /&gt;
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2. What are the differences among shén, dì and xiān?&lt;br /&gt;
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3. What do the Eight immortals represent respectively?&lt;br /&gt;
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===Answers===&lt;br /&gt;
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.&lt;br /&gt;
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2. shén and dì corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.&lt;br /&gt;
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3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.pp11-12&lt;br /&gt;
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[2]Lü, Daji; Gong, Xuezeng (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.pp.63-67 &lt;br /&gt;
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[3]柏杨．中国人史纲：时代文艺出版社，1987.pp. 34-40&lt;br /&gt;
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[4]Olson, Stuart Alve (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear &amp;amp; Company.pp.27-28 &lt;br /&gt;
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[5]Buddhism, the Fulfilment of Hinduism P37&lt;br /&gt;
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[6]胡亚楠. 从神到仙：先秦时期神仙信仰的形成因素研究[D].哈尔滨师范大学,2020.&lt;br /&gt;
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[7]Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.pp. 200-201&lt;br /&gt;
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[8]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50&lt;br /&gt;
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[9]杨尔曾,邓志谟,汪象旭.《八仙全书》:春风文艺出版社出版 pp. 45-50&lt;br /&gt;
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[10]Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago. pp. 313, 319–334.&lt;br /&gt;
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==Literature, Tang and Song - Guo Lu 郭露 202070080588==&lt;br /&gt;
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===Classical Prose Movement of late Tang Dynasty and Song Dynasty===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its deep.” (Li Shufang 2003, 1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979, 1)&lt;br /&gt;
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====Development====&lt;br /&gt;
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The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan who were not only writers but also theorists, forming the basis of the movement. Both were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive the Confucianism. (Qian Dongfu 1979, 15-18)&lt;br /&gt;
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However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979, 59-61)&lt;br /&gt;
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After that, Ouyang Xiu once again advocated the classical prose in the Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty. (Song Juan 2005, 62-65) &lt;br /&gt;
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====Representatives====&lt;br /&gt;
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'''1.Han Yu'''&lt;br /&gt;
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Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot;，and Su Shi, another Chinese poet, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979, 15-17)&lt;br /&gt;
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Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 proses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education. (Fan Aiju, Li Wei 2014, 124-125)&lt;br /&gt;
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'''2.Liu Zongyuan'''&lt;br /&gt;
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Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is &amp;quot;Jiangxue&amp;quot;. (Yang Shengli 2020, 42-44)&lt;br /&gt;
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'''3.Ouyang Xiu'''&lt;br /&gt;
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Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007, 56)&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007, 56-57)&lt;br /&gt;
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Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties. (Qian Dongfu 1979, 82-83)&lt;br /&gt;
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====Masterworks====&lt;br /&gt;
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Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979, 73-78)&lt;br /&gt;
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====Influence====&lt;br /&gt;
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The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China, and acted as a fine example for later scholars. (Qian Dongfu 1979, 85-86)&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
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The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty 唐宋八大家&lt;br /&gt;
&lt;br /&gt;
Classical Prose Movement 古文运动&lt;br /&gt;
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''Eight Records of Excursions in Yongzhou'' 《永州八记》&lt;br /&gt;
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''On Teachers'' 《师说》&lt;br /&gt;
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''New Book of Tang'' 《新唐书》&lt;br /&gt;
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''Historical Records of the Five Dynasties'' 《新五代史》&lt;br /&gt;
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''Zuiweng Tingji'' 《醉翁亭记》&lt;br /&gt;
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''Shang Zhongyong'' 《伤仲永》&lt;br /&gt;
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''On Jia Yi'' 《贾谊论》&lt;br /&gt;
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''First Ode to the Red Cliff'' 《赤壁赋》&lt;br /&gt;
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====Questions====&lt;br /&gt;
&lt;br /&gt;
1. Who were the first promoters of the Classical Prose Movement?&lt;br /&gt;
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2. What does the Classical Prose Movement mean?&lt;br /&gt;
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3. What's political and religious purposes of the Classical Prose Movement?&lt;br /&gt;
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====Answers====&lt;br /&gt;
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1. The first promoters of this movement were Han Yu and Liu Zongyuan.&lt;br /&gt;
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2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty.&lt;br /&gt;
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3. The reason what Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.&lt;br /&gt;
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====References====&lt;br /&gt;
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Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125.&lt;br /&gt;
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Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.&lt;br /&gt;
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Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57.&lt;br /&gt;
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Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.&lt;br /&gt;
&lt;br /&gt;
Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.&lt;br /&gt;
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Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.&lt;br /&gt;
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Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.&lt;br /&gt;
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==The tradition of Red envelope and Lucky money - Ha, Thi Thu Hang==&lt;br /&gt;
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===The Chinese Red Envelope and Lucky money tradition===&lt;br /&gt;
&lt;br /&gt;
In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.&lt;br /&gt;
&lt;br /&gt;
====A. The Origin====&lt;br /&gt;
&lt;br /&gt;
In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
&lt;br /&gt;
One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
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====B. The tradition====&lt;br /&gt;
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The Chinese custom of lucky money is called &amp;quot;Hongbao&amp;quot;. Chinese people really like red, so the lucky money is always red, symbolizing luck and happiness. The amount of money in the Chinese lucky money must avoid the number 4 and be sealed. The children, after receiving the lucky money, do not open it immediately, but have to put it all under the pillow after about a week to open it. The meaning of this is for the lucky money to protect the kids from the bad things that can happen in the new year. This is also the source of the traditional Chinese lucky money.&lt;br /&gt;
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====C. Outside of China====&lt;br /&gt;
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The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent.&lt;br /&gt;
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Each country has different ways of lucky money and changes over time, but the basic custom of lucky money is to want to send wishes of peace to all relatives and friends in the new year.&lt;br /&gt;
In Vietnam, the Lunar New Year is one of the great holidays of the year. The traditional New Year's customs are still preserved, in which the lucky money is typical. On the first day of the year, both adults and babies wear new clothes to celebrate the New Year relative. After that, the adults will give lucky money to the children with the message of good luck, good care and good study. Today, the tradition of lucky money in Vietnam is also expanded in the direction that children give lucky money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.&lt;br /&gt;
&lt;br /&gt;
In Japan, lucky money is called Otoshidama. Unlike other countries, the amount of Japanese lucky money depends on the child's age, the relationship of the family. Otoshidama red envelopes are usually white in color, not as common in red as other countries. The special thing about the Japanese red envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the lucky money will be written on the red envelope to show respect for the recipient. The message of each Otoshidama red envelopes is a wish for a warm, peaceful and lucky new year.&lt;br /&gt;
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In Korea, the lucky money is called Sabae. On New Year's Day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive lucky money together with wishes for health and peace in the new year. The lucky money in Korea is more diverse than other countries, not only with money but also gold, pearls, gems...&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
Luckymoney 利市 /Lì shì/ &lt;br /&gt;
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Red envelope 紅包 /Hóngbāo/ &lt;br /&gt;
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Confucianism 儒教 /Rújiào/ &lt;br /&gt;
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Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. Do you know the origin of giving Lunar new year lucky money to children？&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called sui (Chinese: 祟) in ancient times. Whenever it is on New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was being touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟).&lt;br /&gt;
One tale of the folklore, years ago, there was a couple who were over 50 years old had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid beside the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was unharmed by the monster. The old couple was so thankful and gradually everyone ih the village knew about the stories. Since then, when Lunar New Year comes, people will give children &amp;quot;red paper wrapped copper money&amp;quot; with a belief that the money will protect children from being harmed.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
https://en.wikipedia.org/wiki/Red_envelope [https://en.wikipedia.org/wiki/Red_envelope]&lt;br /&gt;
&lt;br /&gt;
==Calendar, The 24 Solar Terms - He Changqi 何长琦==&lt;br /&gt;
==='''The Twenty-four Solar Terms'''===&lt;br /&gt;
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===17.1 The orgin and development of the twenty-four solar terms===&lt;br /&gt;
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“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.[[1]]&lt;br /&gt;
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===17.2 The definition and classification of the twenty-four solar terms===&lt;br /&gt;
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“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (术语)&lt;br /&gt;
A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.&lt;br /&gt;
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===17.3 The conventions in different solar terms===&lt;br /&gt;
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===17.4 Importance and values===&lt;br /&gt;
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===17.4.1 Importance in ancient times===&lt;br /&gt;
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The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an  important role in the life and work of traditional Chinese people.&lt;br /&gt;
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and  an important manifestation and part of their colourful lives. For example, the &amp;quot;Four Beginnings&amp;quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.&lt;br /&gt;
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===17.4.2 Values in modern society===&lt;br /&gt;
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.&lt;br /&gt;
Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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the Beginning of Spring	立春&lt;br /&gt;
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Beginning of Autumn 立秋&lt;br /&gt;
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Rain Water 雨水 &lt;br /&gt;
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End of Heat 处暑&lt;br /&gt;
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Insects Awakening 惊蛰 	&lt;br /&gt;
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White Dew 白露&lt;br /&gt;
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Spring Equinox 春分 &lt;br /&gt;
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Autumnal Equinox 秋分&lt;br /&gt;
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Fresh Green 清明 &lt;br /&gt;
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Cold Dew 寒露&lt;br /&gt;
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Grain Rain 谷雨	&lt;br /&gt;
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First Frost 霜降 &lt;br /&gt;
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Beginning of Summer 立夏 &lt;br /&gt;
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Beginning of Winter 立冬&lt;br /&gt;
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Lesser Fullness	小满 	&lt;br /&gt;
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Light Snow 小雪&lt;br /&gt;
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Grain in Ear 芒种	&lt;br /&gt;
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Heavy Snow 大雪&lt;br /&gt;
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Summer Solstice	夏至&lt;br /&gt;
 	&lt;br /&gt;
Winter Solstice	冬至&lt;br /&gt;
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Lesser Heat 大暑&lt;br /&gt;
 	&lt;br /&gt;
Lesser Cold 小寒&lt;br /&gt;
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Greater Heat 立春 &lt;br /&gt;
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Greater Cold 大寒&lt;br /&gt;
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===Questions===&lt;br /&gt;
===Answers===&lt;br /&gt;
===References===&lt;br /&gt;
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References:[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 10:11, 20 November 2020 (UTC)&lt;br /&gt;
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==Literature, Yue Fu - Hu Baihui 胡百辉==&lt;br /&gt;
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===Collection of Yue Fu Poetry《乐府诗集》===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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'''1.Brief introduction'''&lt;br /&gt;
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''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty.&lt;br /&gt;
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&amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.&lt;br /&gt;
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'''2.About the author'''&lt;br /&gt;
&lt;br /&gt;
Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.&lt;br /&gt;
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'''3.Content introduction'''&lt;br /&gt;
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It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &amp;quot;Yuefu Poetry Collection&amp;quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.&lt;br /&gt;
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====Masterpieces====&lt;br /&gt;
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'''1.''The Peacock Flies to Southeast'''''&lt;br /&gt;
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''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. &lt;br /&gt;
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It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.&lt;br /&gt;
&lt;br /&gt;
As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.&lt;br /&gt;
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'''2.''Mulan Poetry'''''&lt;br /&gt;
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''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.&lt;br /&gt;
&lt;br /&gt;
====Evaluation====&lt;br /&gt;
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'''1.Contributions'''&lt;br /&gt;
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The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.&lt;br /&gt;
&lt;br /&gt;
There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.&lt;br /&gt;
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'''2.Shortcomings'''&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Yu Yizhi 喻意志.(2002).乐府诗集成书研究[D][A study on the compilation of the ''Collection of Yuefu Poertry''].上海:上海师范大学 Shanghai:Shanghai Normal University,(2002)10.&lt;br /&gt;
&lt;br /&gt;
Wu Ting 吴婷.(2007).乐府诗集引用的音乐文献研究[D][A study of music documents cited in ''Collection of Yuefu Poertry''].南昌:南昌大学 Nanchang:Nanchang University, (2007)12.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:06, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry''《乐府诗集》&lt;br /&gt;
&lt;br /&gt;
Jiaomiao songs郊庙歌辞&lt;br /&gt;
&lt;br /&gt;
Yanshe songs燕射歌辞&lt;br /&gt;
&lt;br /&gt;
Guchui drum songs鼓吹曲辞&lt;br /&gt;
&lt;br /&gt;
Hengchui songs横吹曲辞&lt;br /&gt;
&lt;br /&gt;
Xianghe songs相和歌辞&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' 《孔雀东南飞》&lt;br /&gt;
&lt;br /&gt;
''Mulan Poetry''《木兰辞》--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:24, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.When was Yuefu Poetry compiled？&lt;br /&gt;
&lt;br /&gt;
2.Which institution did &amp;quot;Yuefu&amp;quot; belong to?&lt;br /&gt;
&lt;br /&gt;
3.What are ''The Peacock Flies to Southeast''based on?--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:34, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1.In Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
2.It belongs to the institution in charge of music.&lt;br /&gt;
&lt;br /&gt;
3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:38, 8 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Cuisines, 8 Major Cuisines in China - Hu Jin 胡瑾==&lt;br /&gt;
&lt;br /&gt;
===Eight Major Cuisines of China===&lt;br /&gt;
&lt;br /&gt;
====1. A Brief Introduction About Chinese Cuisine====&lt;br /&gt;
As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &amp;quot;four major cuisines.&amp;quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &amp;quot;eight major cuisines&amp;quot; of traditional Chinese cuisine.&lt;br /&gt;
&lt;br /&gt;
====2. The Classification of Chinese Cuisines====&lt;br /&gt;
      &lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around.&lt;br /&gt;
&lt;br /&gt;
=====2.1 Shandong Cuisine=====&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. &lt;br /&gt;
=====2.2 Sichuan Cuisine=====&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one &lt;br /&gt;
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu.&lt;br /&gt;
=====2.3 Guangdong Cuisine=====&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. &lt;br /&gt;
=====2.4 Fujian Cuisine=====&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &amp;quot;pickled taste&amp;quot;. &lt;br /&gt;
=====2.5 Jiangsu Cuisine=====&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. &lt;br /&gt;
=====2.6 Zhejiang Cuisine=====&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. &lt;br /&gt;
=====2.7 Hunan Cuisine=====&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division.&lt;br /&gt;
=====2.8 Anhui Cuisine=====&lt;br /&gt;
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes.&lt;br /&gt;
&lt;br /&gt;
====3. A Comparison of Chinese-Western Diet Culture====&lt;br /&gt;
&lt;br /&gt;
Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.&lt;br /&gt;
&lt;br /&gt;
Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.&lt;br /&gt;
&lt;br /&gt;
====References====&lt;br /&gt;
&lt;br /&gt;
毕继万. (1999). ''跨文化非语言交际''. 北京：外语教学与研究出版社.&lt;br /&gt;
&lt;br /&gt;
蔡华. (2007). 试论中西饮食文化的差异. ''邵阳学院学报''.&lt;br /&gt;
&lt;br /&gt;
杜学增. (1999). ''中英文化习俗比较''. 北京：外语教学与研究出版社.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
pot-stewed fowl 卤味&lt;br /&gt;
&lt;br /&gt;
stewing and simmering炖，煨&lt;br /&gt;
&lt;br /&gt;
prickly ash 花椒&lt;br /&gt;
&lt;br /&gt;
fermented soybean豆鼓&lt;br /&gt;
&lt;br /&gt;
Braised Dongpo Pork东坡肉&lt;br /&gt;
&lt;br /&gt;
Buddha Jumps over the Wall 佛跳墙&lt;br /&gt;
&lt;br /&gt;
Kung Pao Chicken 宫保鸡丁&lt;br /&gt;
&lt;br /&gt;
Bean Sauce Tofu麻婆豆腐&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1. How many types of cuisines are there in china?&lt;br /&gt;
&lt;br /&gt;
2. What’s differences between Chinese and western diets?&lt;br /&gt;
&lt;br /&gt;
3. What is the origin of Dongpo Meat?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1. Eight&lt;br /&gt;
&lt;br /&gt;
2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a  more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. &lt;br /&gt;
&lt;br /&gt;
3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.&lt;br /&gt;
&lt;br /&gt;
== Eight major cuisines of China ==&lt;br /&gt;
&lt;br /&gt;
==Paper Cutting - Jiang Fengyi 蒋凤仪 202070080636==&lt;br /&gt;
&lt;br /&gt;
Chinese Paper Cutting 剪纸&lt;br /&gt;
&lt;br /&gt;
===Text===&lt;br /&gt;
===Introduction===&lt;br /&gt;
The art of paper cutting in China may date back to the second century CE, since paper was invented by Cai Lunin the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuanghua, window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout.[1] Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival weddings and childbirth. Paper-cuting always symbolizes luck and happiness.&lt;br /&gt;
&lt;br /&gt;
===History===&lt;br /&gt;
The paper was invented in the Western Han Dynasty (6th century BC), before which there was no paper-cut art. However, at that time, people used thin-film materials to make handicrafts by hollowing out carving techniques, which had been popular since before paper appeared, that is, carving, carving, carving and cutting techniques were used to carve patterns on gold foil, leather, silk and even on leaves. In the historical records, the brother of the cutting Tung Tong describes the Zhou Dynasty king of the Western Zhou Dynasty who cut his &amp;quot;Guiyu&amp;quot; to his brother by using Wutong leaves and Feng Ji Yu to Tang as Hou. During the Warring States period, leather engraving (one of the cultural relics unearthed from No.1 Chu tomb in jianglingwangshan, Hubei Province) and silver foil hollowed out and engraved patterns (one of the cultural relics unearthed from the Warring States site in Guwei village, Huixian County, Henan Province) were used in the Warring States period. Their appearance laid a certain foundation for the formation of folk paper-cut. In the southern and Northern Dynasties, &amp;quot;Mulan Ci&amp;quot; has the poem &amp;quot;yellow to the mirror&amp;quot;. The earliest paper-cut work in China was found in the Northern Dynasty period (386-581 A.D.) unearthed near the Flame Mountain in Turpan, Xinjiang. These paper-cut, the use of repeated folding and image processing techniques.&lt;br /&gt;
&lt;br /&gt;
In the Ming and Qing Dynasties, the paper-cut handicraft became mature and reached its peak. Folk paper-cut handicrafts are more widely used, such as flower decorations on folk lanterns, patterns on fans, and embroidery patterns, etc., all of which are decorated with paper-cut for reprocessing [9]. What's more, Chinese people often use paper-cut as decoration to beautify the home environment. For example, door stacks, window decorations, cabinet flowers, flower lovers and ceiling flowers are used to decorate doors, windows and rooms.&lt;br /&gt;
&lt;br /&gt;
At the beginning of the 20th century, the &amp;quot;May 4th&amp;quot; New Culture Movement established the rudiment of Chinese folklore under the advocacy of advanced intellectuals Cai Yuanpei, Lu Xun, Liu Bannong and Zhou Zuoren. They widely collect folk literature materials, but also strive to collect folk art works, including folk paper-cut. In the 1930s, artist Chen Zhinong began the research and creation of folk paper-cut in Beijing. He used sketches and silhouettes to depict a large number of customs and customs in old Beijing, such as street vendors, workshop craftsmen, food stalls and tea picking, markets, temple fairs, and market idlers.&lt;br /&gt;
&lt;br /&gt;
===Categories===&lt;br /&gt;
===Schools===&lt;br /&gt;
&lt;br /&gt;
===Significance===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592==&lt;br /&gt;
&lt;br /&gt;
===The Chinese Medical Sage - Zhang Zhongjing===&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book ''Treatise on Febrile and Miscellaneous Diseases'', which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)&lt;br /&gt;
&lt;br /&gt;
Later, people called the doctor who sat in the drugstore to treat patients &amp;quot;the doctor sitting in the hall&amp;quot;, in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)&lt;br /&gt;
&lt;br /&gt;
When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)&lt;br /&gt;
&lt;br /&gt;
There is a Chinese saying that goes, &amp;quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&amp;quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
In fact, the way of making &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &amp;quot;Jiao Er&amp;quot;. ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying &amp;quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&amp;quot; (首都医药 2003, 40)&lt;br /&gt;
&lt;br /&gt;
At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)&lt;br /&gt;
&lt;br /&gt;
[[File:Zhang_Zhongjing.jpg]]&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] 张仲景故乡的二十四个故事(六) 饺子的来历[J]. 首都医药. 2003(17)&lt;br /&gt;
&lt;br /&gt;
[2] Zhang Maoyun 张茂云. 伤寒杂病论成书年代及仲景生平年代考历[J]. 中国中医药现代远程教育. 2014(04)&lt;br /&gt;
&lt;br /&gt;
[3] Zhen Xueyan, Wang Limin, Liang Yongxuan 甄雪燕，王利敏，梁永宣. “医圣”张仲景[J]. 中国卫生人才. 2013(07)&lt;br /&gt;
&lt;br /&gt;
[4] Zhang Deli 张德礼. 心系百姓的“医圣”张仲景[J]. 现代班组. 2019(05)&lt;br /&gt;
&lt;br /&gt;
[5] Tan Rongzhou 覃荣周. 张仲景对我国医学发展的历史贡献[J]. 兰台世界. 2013(07)&lt;br /&gt;
&lt;br /&gt;
[6] Zhao Qingxin 赵清新. 万世医宗张仲景[J]. 解放军健康. 1999(05)&lt;br /&gt;
&lt;br /&gt;
[7] 张仲景:“医圣”之名传天下[J]. 天一. 月读. 2020(03)&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
medical sage 医圣&lt;br /&gt;
&lt;br /&gt;
Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》&lt;br /&gt;
&lt;br /&gt;
treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治&lt;br /&gt;
&lt;br /&gt;
yamen 衙门&lt;br /&gt;
&lt;br /&gt;
Great Cold ( 24th solar term ) 大寒&lt;br /&gt;
&lt;br /&gt;
Slight Cold ( 23rd solar term ) 小寒&lt;br /&gt;
&lt;br /&gt;
look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切&lt;br /&gt;
&lt;br /&gt;
Cold Dispelling Jiaoer Soup 祛寒娇耳汤&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What's the honorable title Zhang Zhongjing addressed as?&lt;br /&gt;
&lt;br /&gt;
2. What's the official role Zhang once taken?&lt;br /&gt;
&lt;br /&gt;
3. When would Zhang treat patients for free at yamen?&lt;br /&gt;
&lt;br /&gt;
4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?&lt;br /&gt;
&lt;br /&gt;
5. What's the relationship between Zhang Zhongjing and dumplings?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
&lt;br /&gt;
1. Chinese Medical Sage.&lt;br /&gt;
&lt;br /&gt;
2. Changsha magistrate.&lt;br /&gt;
&lt;br /&gt;
3. He treated patients for free on the first and fifteenth days of every lunar month.&lt;br /&gt;
&lt;br /&gt;
4. ''Treatise on Febrile and Miscellaneous Diseases.'' Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.&lt;br /&gt;
&lt;br /&gt;
5. Dumplings are derived from the recipe &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot; developed by Zhang Zhongjing.&lt;br /&gt;
 &lt;br /&gt;
--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Architecture, Qingming Riverside Landscape Garden-Zeng Liang 曾良 202070080578==&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, and covering an area of more than 600 acres, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park showing the prosperous scenery of Song Dynasty. It is based on the painting ''Riverside Scene at Qingming Festival'' drawn by famous painter Zhang Zeduan in the Northern Song Dynasty. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)&lt;br /&gt;
&lt;br /&gt;
The painting ''Riverside Scene at Qingming Festival'' is a precious scroll of social and folk life in ancient China. It reflects the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng as the capital of the Northern Song Dynasty in China. Although it only reflects a part of Kaifeng at that time, People can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)&lt;br /&gt;
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There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of ''Riverside Scene at Qingming Festival'', the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance. (Gao Jing 2010,18)&lt;br /&gt;
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The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and it is also a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050, and it was reconstructed in 1998. It is a replica of one of the ten ancient timber bridges. The Fuyun Pavillion is 31.99 meters high and it is the tallest building in the garden. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three flowers hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty. (Chen Kang 2006,62)&lt;br /&gt;
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Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion. During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can have an outing in spring, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called ''“Luxuriant Dream of the East Capital of the Great Song Dynasty”.'' This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. Chrysanthemum cultural festival is another grand festivl in the garden, during which all kinds of chrysanthemums will be presented.The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, which attracted thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life. (Zhang Lu 2013,24)&lt;br /&gt;
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There are vaious performances presented in the Qingming Riverside Landscape Garden, such as ''Luxuriant Dream of the East Capital of the Great Song Dynasty'', ''Baogong Salute to Guests'', ''Spitting Fire Show'', '''Cockfight''', ''Women’s Polo'' and so on. Among these formances, ''Luxuriant Dream of the East Capital of the Great Song Dynasty'' is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance is lasted for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today’s Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)&lt;br /&gt;
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Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which give people a visual impact and have a strong religious color.(Pang Runxin 2019,10)&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
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''Qingming Riverside Landscape Garden'' 清明上河园&lt;br /&gt;
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''Riverside Scene at Qingming Festival''《清明上河图》&lt;br /&gt;
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Rainbow Bridge虹桥&lt;br /&gt;
&lt;br /&gt;
Fuyun Pavillion浮云阁&lt;br /&gt;
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Shangshan Gate 上善门&lt;br /&gt;
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chrysanthemum菊花&lt;br /&gt;
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''Baogong Salute to Guests''包公迎宾&lt;br /&gt;
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''Spitting Fire Show''气功喷火&lt;br /&gt;
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''Cockfight''斗鸡&lt;br /&gt;
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''Women’s Polo''女子马球&lt;br /&gt;
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''Luxuriant Dream of the East Capital of the Great Song Dynasty''《大宋·东京梦华》&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1.What is the location of ''Qingming Riverside Landscape Garden''?&lt;br /&gt;
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2.What’s the role of ''Qingming Riverside Landscape Garden'' in China?&lt;br /&gt;
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3.When was ''Qingming Riverside Landscape Garden'' opened to the public?&lt;br /&gt;
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4.Who is the painter of ''Piverside Scene at Qingming Festival''?&lt;br /&gt;
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5.Which dynasty of the painting ''Qingming Riverside Landscape Garden'' present?&lt;br /&gt;
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6.What does the name of ''Fuyun Pavilion'' mean?&lt;br /&gt;
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7.What’s the characteristics of the performance of ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?&lt;br /&gt;
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8.Can you please list some kinds of performance of ''Qingming Riverside Landscape Garden'' besides ''Luxuriant Dream of the East Capital of the Great Song Dynasty''?&lt;br /&gt;
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===Answers===&lt;br /&gt;
&lt;br /&gt;
1.It is located on the west bank of ''Dragon Pavilion'' in Kaifeng, Henan Province.&lt;br /&gt;
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2.In 2009, ''Qingming Riverside Landscape Garden'' was chosed as China’s first theme park in the style of the ancients by ''China World Records Association''. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s ''intangible cultural heritage exhibition base''. &lt;br /&gt;
&lt;br /&gt;
3.It was officially opened to the public on October 28, 1998.&lt;br /&gt;
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4.Zhang Zeduan.&lt;br /&gt;
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5.Northern Song Dynasty.&lt;br /&gt;
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6.The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.&lt;br /&gt;
&lt;br /&gt;
7.It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life. &lt;br /&gt;
&lt;br /&gt;
8.''Baogong Salute to Guests'', ''Spitting Fire Show'', ''Cockfight'', ''Women’s Polo''.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Chen Kang 陈康.(2006).《清明上河园》的精彩场景——贯木拱虹桥[Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge].集邮博览Philatelic Panorama(07)62-63.&lt;br /&gt;
&lt;br /&gt;
Gao Jing高静.(2010). 清明上河园——玩转宋文化[Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty].光彩Brilliance(04)16-19.&lt;br /&gt;
&lt;br /&gt;
Li Mei李梅.(2007).清明上河园特色建设与长远发展[Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development].合作经济与科技Co-operative Economyand Science(8)10-12.&lt;br /&gt;
&lt;br /&gt;
Pang Runxin庞润昕.(2019).《清明上河图》的建筑艺术[Architectural Art in Paintings of Riverside Scene Qingming Festival].景德镇陶瓷大学Jingdezheng Ceramic Institute(06)10-16.&lt;br /&gt;
&lt;br /&gt;
Wei Tuo韦陀.(2006).张择端之《清明上河图》[Riverside Scene at Qingming Festival Painted by Zhang Zeduan].紫禁城Forbidden City（Z2)13-15.&lt;br /&gt;
&lt;br /&gt;
Zhang Lu张璐.(2013).清明上河园与宋都文化传承创新研究[Inheritance and Innovation Research Study of “Qingming River” Song Dynasty Theme Park].赤峰学院学报Chi Feng College Journal(05)23-27.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:06, 12 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109303</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109303"/>
		<updated>2020-12-09T13:21:37Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* References */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
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As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
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===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
&lt;br /&gt;
In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
&lt;br /&gt;
Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
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===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
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Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
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In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
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=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .&lt;br /&gt;
&lt;br /&gt;
[2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .&lt;br /&gt;
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[3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
[4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .&lt;br /&gt;
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[5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.&lt;br /&gt;
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[6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;amp;New York:Routledge, 1995.&lt;br /&gt;
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[7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.&lt;br /&gt;
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[8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;amp;Sydney:Croom Helm, 1985.&lt;br /&gt;
&lt;br /&gt;
[9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .&lt;br /&gt;
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[10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.&lt;br /&gt;
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[11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
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		<title>History of Translation Studies 10</title>
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		<summary type="html">&lt;p&gt;Cao Runxin: /* References */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
&lt;br /&gt;
Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
&lt;br /&gt;
===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
&lt;br /&gt;
For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
&lt;br /&gt;
Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
&lt;br /&gt;
Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
&lt;br /&gt;
Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
&lt;br /&gt;
In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
&lt;br /&gt;
Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
&lt;br /&gt;
*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
&lt;br /&gt;
*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
&lt;br /&gt;
*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
&lt;br /&gt;
*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
&lt;br /&gt;
*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
&lt;br /&gt;
==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
&lt;br /&gt;
===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
&lt;br /&gt;
In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
&lt;br /&gt;
I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
&lt;br /&gt;
In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
&lt;br /&gt;
However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
&lt;br /&gt;
===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
&lt;br /&gt;
===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
&lt;br /&gt;
归化，异化，文化负载词，跨文化交流&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
&lt;br /&gt;
Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
&lt;br /&gt;
On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
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Example 11&lt;br /&gt;
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我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
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In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
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===''' Conclusion '''===&lt;br /&gt;
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Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
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===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
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==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
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==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
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 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
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===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
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3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
&lt;br /&gt;
===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1]李红满.论当代西方翻译研究范式的转变[J].外语与翻译, 2002 (2) .&lt;br /&gt;
[2]张美芳.翻译学的目标与结构——霍姆斯的译学构想介评[J].中国翻译, 2000 (2) .&lt;br /&gt;
[3]Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
[4]林克难.翻译研究:从规范走向描写[J].中国翻译, 2001 (6) .&lt;br /&gt;
[5]Vermeer, Hans J.A Skopos Theory of Translation[M].Heidellburg:TEXT-con, 1996.&lt;br /&gt;
[6]Venuti.Lawrence.The Translator’s Invisibility[M].A History of Transla-tion.London&amp;amp;New York:Routledge, 1995.&lt;br /&gt;
[7]Snell-Homby, Mary.Translation Studies.AnIntegrated Approach[M].Re-vised ed.Amsterdam:John Benjamins, 1995.&lt;br /&gt;
[8]Hemans, Theo, ed.The manipulation of Literature[M].London&amp;amp;Sydney:Croom Helm, 1985.&lt;br /&gt;
[9]韩子满, 刘芳.描述翻译研究的成就与不足[J].外语学刊, 2005 (3) .&lt;br /&gt;
[10]谢天振.翻译研究新视野[M].青岛:青岛出版社, 2003.&lt;br /&gt;
[11]张南峰.从梦想到现实——对翻译学科的东张西望[J].外国语, 1998 (3) .&lt;/div&gt;</summary>
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		<title>History of Translation Studies 10</title>
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		<summary type="html">&lt;p&gt;Cao Runxin: /* Reference */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
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As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
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===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
&lt;br /&gt;
2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
&lt;br /&gt;
With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
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===References===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
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		<title>History of Translation Studies 10</title>
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		<updated>2020-12-09T13:13:11Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Descriptive translation studies	曹润鑫	Cao Runxin */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
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学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
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Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
&lt;br /&gt;
In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
&lt;br /&gt;
Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
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='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
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===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
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===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
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===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
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===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
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Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
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In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
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Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
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In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
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=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
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Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
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The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109294</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109294"/>
		<updated>2020-12-09T13:11:51Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
&lt;br /&gt;
Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
&lt;br /&gt;
===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
&lt;br /&gt;
For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
&lt;br /&gt;
Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
&lt;br /&gt;
Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
&lt;br /&gt;
===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
&lt;br /&gt;
Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
&lt;br /&gt;
Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
&lt;br /&gt;
In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
&lt;br /&gt;
Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
&lt;br /&gt;
Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
&lt;br /&gt;
Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
&lt;br /&gt;
Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
&lt;br /&gt;
Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
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*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
&lt;br /&gt;
*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
&lt;br /&gt;
*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
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Example 11&lt;br /&gt;
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我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
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In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
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===''' Conclusion '''===&lt;br /&gt;
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Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
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===''' reference '''===&lt;br /&gt;
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* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
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='''Contemporary Translation Studies'''=&lt;br /&gt;
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==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
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==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
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===摘要===&lt;br /&gt;
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 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
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===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
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==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
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For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
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This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
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==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
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'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
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In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
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'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
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In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
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==='''3.The Construction of Translatology '''===&lt;br /&gt;
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In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
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'''3.1Translation and Translatology'''&lt;br /&gt;
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&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
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3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Descriptive translation studies focuses on the description of translated works, which makes up for the deficiency of traditional translation research, opens up a new perspective in translation research, and contributes to the healthy development of translation discipline. The results of description should help to reveal the essence of translation and deepen the understanding of the translation discipline. Otherwise, it is obviously not very meaningful to do translation research just for the sake of description and be satisfied with a few sentences which are subjective to the described phenomenon without systematic research explanation. We should not only look at translation from a micro perspective, but also establish a macro awareness and grasp the cultural background factors of translation research as a whole. The traditional normative translation research method and descriptive translation research are not mutually exclusive but complementary, and we should take the advantages of each other and combine the two, so that this kind of translation research is a comprehensive translation research.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109293</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109293"/>
		<updated>2020-12-09T13:10:29Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Hermanns and Translation in Systems */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
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'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
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Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
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==='''Conclusion'''===&lt;br /&gt;
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==='''Bibliography'''===&lt;br /&gt;
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== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
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==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
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'''3.2 Three Stages of Translatology'''&lt;br /&gt;
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Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
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===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
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===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
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Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
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In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
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===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
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Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
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In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
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According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
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He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
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According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
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Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
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According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
The study of descriptive translation was formed in the late 1970s, developed in the 1980s, consolidated, expanded and revised in the 1990s, and is still flourishing today. Summarizing the development history of descriptive translation in the past 30 years, and pointing out the future development direction, it is undoubtedly helpful to the further development and improvement of this research method. However, it is not easy to make an objective and impartial summary and evaluation of the development of translation studies in these 30-odd years.&lt;br /&gt;
&lt;br /&gt;
Although there is a relatively stable group of research scholars and their own basic theories in descriptive translation, in general, their theories are not mature and stable enough, even the representatives of descriptive translation, such as Zuoha's theories are still in the stage of continuous verification and revision. In addition, although scholars belonging to the same field of descriptive translation share the same general direction of research, it does not mean that their views are identical. There is a big difference between &amp;quot;norm&amp;quot; and Chesterman's &amp;quot;norm&amp;quot;. This requires the summarizer to have a clear understanding of the history, development history and the latest development of each school of theory of descriptive translation. Secondly, in addition to a deep and detailed grasp of descriptive translation, the summarizer should also have the ability to grasp the macro and prospect. In other words, he should stand at a high position in the research of descriptive translation, draw the future development prospect of descriptive translation on the basis of summary, and point out the way forward. In other words, he has to take a higher position in the research of descriptive translation, map out the future development prospect of descriptive translation on the basis of summary, and point out the way forward.&lt;br /&gt;
&lt;br /&gt;
The book can be summarized into four parts. The first part mainly consists of the first four chapters, from analyzing the conditions and process of the formation of a new theory, to introducing the early germ of description and system theory and its eventual formation into a new theory in the 1970s, and describing the origin of descriptive translation and its guiding principles. The contents of this part make a good preparation for the following parts, because from the gradual maturation of various relevant factors before the formation of the description and system theory to the final establishment of a complete theory of its own, it reveals the inevitability of its emergence and its broad prospect of development. Chapter 4 introduces Tuli's theory, analyzes the concept of &amp;quot;reciprocity&amp;quot; from different aspects, and then questions the definition of translation, which arouses the reader's sympathy. The second part, chapters five to seven, begins with descriptive translation and introduces different scholars' researches on how to describe the relationship between the original text and the translated text from different angles. The author then introduces the concept of &amp;quot;norm&amp;quot; and introduces the &amp;quot;norm&amp;quot; proposed by Tully and the &amp;quot;norm&amp;quot; proposed by Chesterman respectively. It is a proposal for the study of translation norms. The author then goes on to describe how translation studies began to develop in two different directions after the introduction of the concept of norms, namely, trying to find possible universal rules for translation and going into history, exploring the identity of translation and culture, why we have defined translation accordingly, and how to trace the origins of these ideas. Part III consists of chapters 8-10, which mainly introduce systems theory. Chapter 8 introduces multivariate systems theory, which is the most important and widely-attended theory in systems theory. This chapter introduces the sources, functions and limitations of multivariate systems theory, and points out the deficiencies of this theory, providing a new perspective for future researchers. The following chapters introduce more systems theories. Some of these theories attempt to develop a better systems theory from the limitations of the multiple systems theory, while others use concepts and ideas from other branches of the humanities to develop a completely different theoretical perspective. In particular, Pierre Bourdieu and Niklas Luhmann's theories are described in detail. In the fourth and last two chapters, the author makes a comprehensive criticism of the description and system theory, points out that it needs to be further improved, and then envisages the possible directions of its development: one is to study the history of translation, the other is to provide suitable tools for the study of translation in the current environment, and the third is to deepen the study of translation theory. Compared to the analysis of the previous sections, the last two chapters are somewhat simpler. Of course, it is not easy for any scholar to analyze translation studies so thoroughly.&lt;br /&gt;
&lt;br /&gt;
Scholars who study descriptive translation have proposed that literature should be regarded as &amp;quot;a complex and dynamic system&amp;quot;, and that literary translation studies should &amp;quot;adopt a descriptive, target-language-based, functional and systematic research approach&amp;quot;. [8]10-11 This viewpoint breaks the traditional research method of many scholars for a long time, that is, from source text to translation, and emphasizes the influence of the ideology, literary concepts and other factors on the translation from the socio-cultural background of the target language, and then describes and studies the translation on the basis of this, in order to find out the various norms that restrict the formation and acceptance of the translation. This is undoubtedly a major reversal of tradition, and also covers a broader scope of research, as more factors in translation will directly affect the formation of the translation, and at the same time, placing the translation in a larger system is also a more severe test for the translator.&lt;br /&gt;
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===Conclusion===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109288</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109288"/>
		<updated>2020-12-09T13:02:08Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Tuli and Descriptive translation */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
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functional equivalence, formal equivalence, translation&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
&lt;br /&gt;
===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
&lt;br /&gt;
For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
&lt;br /&gt;
*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
&lt;br /&gt;
*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
&lt;br /&gt;
*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
&lt;br /&gt;
*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
&lt;br /&gt;
*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
&lt;br /&gt;
==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
&lt;br /&gt;
===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
&lt;br /&gt;
In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
&lt;br /&gt;
I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
&lt;br /&gt;
In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
&lt;br /&gt;
However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
&lt;br /&gt;
===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
&lt;br /&gt;
===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
&lt;br /&gt;
==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
&lt;br /&gt;
Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
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Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
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Example 9&lt;br /&gt;
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“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
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If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
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Example 10&lt;br /&gt;
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Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
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3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
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Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
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Example 11&lt;br /&gt;
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我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
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Example 12&lt;br /&gt;
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“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
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Example 13&lt;br /&gt;
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耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
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Example 14&lt;br /&gt;
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“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
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Example 15&lt;br /&gt;
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我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
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In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
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===''' Conclusion '''===&lt;br /&gt;
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Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
&lt;br /&gt;
4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
&lt;br /&gt;
===Tuli and ''Descriptive translation''===&lt;br /&gt;
The concept of &amp;quot;descriptive translation&amp;quot; was originally proposed by the Dutch scholar James Holmes, who published the paper &amp;quot;The Name and Reality of Translation Studies&amp;quot; in the Third International Symposium on Applied Linguistics held in Copenhagen in 1972. In the paper, he made a scientific division of translation studies, &amp;quot;He advocated that translation studies should be divided into two branches, 'pure translation' and 'applied translation', and 'pure translation' and 'applied translation' should be divided into two branches, 'pure translation' and 'applied translation'. It can be divided into 'descriptive translation study' and 'theoretical translation study'&amp;quot;. [1] Descriptive translation research also includes: first, product-oriented research; second, process-oriented research; and third, function-oriented research. [2] These three studies are interdependent and inseparable. The expected position or function of the translator in the receiving culture should be regarded as the deciding factor governing the translation, while the standard translation mode in the target system dictates the translation strategy adopted by the translator to maintain the relationship between the source text and the translated text and achieve a balance between them. In addition, Tuli also suggests that theoretical translation and descriptive translation are also interdependent and mutually transformed. Theoretical translation can guide the research of descriptive translation, and the research results of descriptive translation include a series of coherent laws that can clarify their interconnections, which can be summarized and distilled into a theory guiding translation research.&lt;br /&gt;
&lt;br /&gt;
Based on Evan Zohar's multisystem theory and guided by the translations, Tuli proposes a translation study that constructs a framework adapted to the linguistic system of translation, and places translation within the social and literary system of the culture in which it is translated. Descriptive translation studies shifts the focus of translation research from translations to the translators' translation process, focusing on the reasons for the translators' choices in a specific historical and cultural context, which can avoid the one-sided and unreasonable evaluation of the translated text by traditional translation studies and explain the translation phenomenon more reasonably.&lt;br /&gt;
&lt;br /&gt;
In Descriptive Translation and Beyond, Tuli describes the method of conducting research on descriptive translation, arguing that the initial stage of research is the stage of comparison. He says, &amp;quot;Since many parallel translations have been produced in different historical periods, comparisons between them have become more common, and comparisons between them are of course possible, but it is a much more complicated task than one might have imagined&amp;quot;. [3]&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the act of translation is an activity governed by norms, which refer to sociocultural constraints on translation behavior. At one end of the spectrum in terms of binding, sociocultural constraints are what might be called universally binding, more absolute rules, and at the other end are purely idiosyncratic preferences. Norms are distributed in a gradient between rules and idiosyncrasies, with binding force in between. From the normative point of view, rules and idiosyncrasies are &amp;quot;(more) objective&amp;quot; norms, while the latter are &amp;quot;(more) subjective&amp;quot; i.e. &amp;quot;less objective&amp;quot;. The concept of the This concept is very important in its theoretical system.&lt;br /&gt;
&lt;br /&gt;
He also identifies three types of translation norms embodied in the process: initial norms, preliminary norms, and optional norms. Initial norms refer to the basic choice a translator must first make between the norms of the source language text and the cultural norms of the translated language. The preparatory norms, which come into play before the translation process even begins, involve two aspects: translation policy, which takes into account the choice of the work to be translated, and translation immediacy, which refers to the tolerance for translation from the source language into other languages. Operational norms govern the decisions made in the translation process and can be divided into structural norms and linguistic norms. Among the three norms, the initial norm has an overarching role over the other two norms; the operational norm has a metaphysical character, which is the clarification of the initial norm in the translation process. [3]&lt;br /&gt;
&lt;br /&gt;
According to Tuli, &amp;quot;a translation is any passage of text which, in a system of purposes, is represented as a translation or is considered as a translation, regardless of the grounds on which it is based&amp;quot;. [4] Tuli's definition of translation broadens the scope of translation research, and many adaptations, retranslations, rewritings, imitations, translations, pseudo-translations, etc., which are excluded from traditional translation, are included in the scope of describing translation research.&lt;br /&gt;
Generally speaking, pseudo-translations are marginalized objects in translation studies, because the so-called &amp;quot;translations&amp;quot; may not have corresponding source texts, but are only a means for some writers to make their works more prominent.  &amp;quot;Exoticism&amp;quot; to attract the public's attention. But we should also be clear that its position in the cultural system makes pseudo-translations closely related to real translations. Admittedly, everything exists for a reason, and pseudo-translations are no exception. In my opinion, pseudo-translations can be divided into three kinds, one is real pseudo-translation, that is, translations fabricated by writers in the target culture under the guise of translation to gain the status of the translated works in the literary system; the other is possible pseudo-translation, that is, the translated text is handed down in the world but the corresponding source text is unverifiable, where unverifiability does not mean that the source text does not exist, but it may be lost or The other one is that the source text exists objectively, but due to socio-cultural differences with the translated language, the translator has to take naturalization measures, replacing some cultural characteristics of the source culture with the cultural specific items belonging to the culture of the translated language, so that the translation is no longer a complete translation of the source text. One of the major characteristics of pseudo-translation is the &amp;quot;translation tone&amp;quot; in the text. Due to the real existence of &amp;quot;translation cavity&amp;quot; in many translated texts, pseudo-translations are able to deceive many readers through this mask. Of course, since the &amp;quot;translation cavity&amp;quot; is the inevitable effect of the translator's alienation strategy in the translation process, we do not intend to criticize it here.&lt;br /&gt;
&lt;br /&gt;
Figure 3 provides a model for descriptive studies of conjoint phrases as a means of translation. A conjoint phrase consists of two or more synonyms in the same language, which together form a single functional unit that expresses the same meaning or performs the same function. Near-synonyms are often found in Hebrew literature or in Hebrew translations. Many of these phrases, especially those that appeared in classicized texts, gradually evolved into fixed expressions. By the late 18th century, under the influence of the Renaissance, Hebrew culture struggled to adapt to the new modes of literary writing promoted by the surrounding European cultures. It was during this period that the Hebrew lexicon was reborn, and another spring was ushered in. The Hebrew writer or translator had to create a new type of text or a new mode of writing (the mode of the new European literature) using the old forms of the language (in this case, the use of synonyms) in order to produce a &amp;quot;credible&amp;quot; Hebrew text. This is equivalent to writing exotic forms of literature in the language of one's own people. However, the synonymy was suppressed for a long time before it was really reborn, and was of secondary importance in the whole Hebrew literature system. This is evidenced by their common use in children's literature and in translations. In translations, the near-synonyms of the source text are often transferred to the target language, and the differences between the two cultures and traditions make such transfers difficult. In Hebrew translations, synonyms are often used instead of the corresponding individual words in the source text to capture the characteristics of the native literature. There are also rare translations in which the near-synonyms appear as mere additions due to the complete absence of a corresponding item in the source text. As Figure mentions, very often the use of synonyms is not only for the function of their counterparts in the source text, but is an attempt to bring back the tradition of Hebrew translation in one's own research and that of others. [3]112&lt;br /&gt;
&lt;br /&gt;
According to Tuli, the original intent of translation is to meet the needs of one culture. Translation uses a different language to introduce a text that already exists in one culture into another culture. In the process, there is both preservation of the source text and adaptation to the requirements of the target system. After a series of studies, Tully concludes that literary translations are affected by system ambiguity, pointing to two different kinds of translated texts: one in which the source text is already considered as a literary work in the source culture, and the other in which the translation of the source text is accepted as a literary work in the target culture. An example of a Bible translation is shown to illustrate the difference. The translation of the Hebrew Bible has become a classic religious text, but obviously there are differences between Jewish religious texts and non-Jewish religious texts. Of course, literary translations in both senses of the word are also consistent under certain conditions: when the two cultures share similar literary traditions in the act of translation, or when the literary system of the imported language is at a disadvantage compared to the literary system of the source language and tries to enrich the system with the advantages of the latter. Or when the translator occupies such a significant position in the culture that he or she can change the position of the translated text from the periphery to the center. Turi believes that literature is first and foremost a manifestation of culture, so he proposes three types of translation: language-oriented translation, text-oriented translation, and literary translation. In the process of translation, submission to the target literary models and norms will inevitably lead to the loss of the characteristics of the source text, but Tuli is concerned with what actually happens in the process of translation and the purpose of translation itself, not the acceptance of translation but the acceptability of the translated text. The real manipulation of literary translation is not the fact whether the product is accepted by the target culture, but the probability that the structure or composition of a text will be accepted following a definite pattern. In fact, Tuli has put forward his own viewpoint on translation research, that is, translation research oriented to the target language.&lt;br /&gt;
&lt;br /&gt;
Translation-Specific lexical items, which are words translated from the source language, originate in the target language but do not belong to it. Of course, such terms are also subject to certain social and temporal backgrounds. The existence of translation-specific terms saves translators a lot of trouble in translation, and has become an effective method to be adopted in the translation process.&lt;br /&gt;
&lt;br /&gt;
In his study of descriptive translation, Tuli emphasized the objective neutrality of the researcher and avoided value judgments too much. He clearly believes that it is possible to be neutral in the study of culture and history. He tries to appear objective by using a lot of scientific jargon. This claim has been challenged by many scholars, including some close to descriptive translation studies. Hans J. Vermeer, for example, argues that Tuli's early approach was in some sense &amp;quot;meta-prescriptive&amp;quot; in the sense that it set preconditions for the analysis of translation. [5]49 Venuti, on the other hand, argues that &amp;quot;translation studies can never be merely descriptive&amp;quot;. He points out that the mere fact of taking translation as a subject of cultural history or cultural criticism is a rebellion against the marginal position of translation in the current cultural hierarchy, and that the choice of a subject in a particular historical period is always related to the current cultural needs. [6] 312 Snell-Hornby has also politely criticized Tuli's insistence on neutrality and objectivity, arguing that value judgment is inevitable in translation studies. [7]25 The criticisms of these scholars are undoubtedly extremely insightful. Since the advocates of translation studies firmly believe that translation is the process and product of multiple factors, and that translators are manipulated by various forces and cannot be independent of their social and cultural environment, why should they think that researchers can be independent of all influences and be completely objective and neutral? In the end, this position is an ideal that is not feasible in actual research.&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109253</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109253"/>
		<updated>2020-12-09T12:15:10Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Descriptive translation studies	曹润鑫	Cao Runxin */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
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'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
&lt;br /&gt;
==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
&lt;br /&gt;
===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
&lt;br /&gt;
In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
&lt;br /&gt;
I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
&lt;br /&gt;
In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
&lt;br /&gt;
4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;br /&gt;
&lt;br /&gt;
===Tuli and ''Descriptive translation''===&lt;br /&gt;
&lt;br /&gt;
=== Hermanns and ''Translation in Systems''===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109251</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109251"/>
		<updated>2020-12-09T12:10:41Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Introduction */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
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'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
&lt;br /&gt;
==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
&lt;br /&gt;
===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
&lt;br /&gt;
In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
&lt;br /&gt;
I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
&lt;br /&gt;
In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies. In the history of Western translation theory, many translators and scholars were spontaneously back to regard translators as the slaves and the authors the masters, including Etienne Pasquier, Madame de La Fayette, Sir John Denham, Gaspar de Tende Daniel Huet, Charles Batteux, Mathew Arnold, Henry Wadsworth Longfellow, the translators of linguistics and in 20th century and some scholars of Translation Studies.( Niu Yunping, 2014). A scholar concluded that under the influence of classicism the English cultural circle also showed their tribute to the “classical writers” of ancient Greek and Rome, and expressed their priority to reason, rules and balance. They believed that the classics were unsurpassable and the works with the highest form, Therefore, the translators found that the author’s overriding authority was beyond questions.(Niu Yunping, 2014).Susan Basnett explained that both the hardening of nationalistic lines and the growth of pride in a national culture conspired to the situation where the translators no longer saw translation as a prime means of enriching their own culture. The elitist began to devaluate translation and disparaged translators as an instrument. (Basnett, 2004. 72-73).&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
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In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
&lt;br /&gt;
==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
&lt;br /&gt;
4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109248</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109248"/>
		<updated>2020-12-09T12:09:40Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Descriptive translation studies	曹润鑫	Cao Runxin */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
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Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
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To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
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Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
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In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
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'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
&lt;br /&gt;
==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
&lt;br /&gt;
===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
&lt;br /&gt;
In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
&lt;br /&gt;
I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
&lt;br /&gt;
In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
&lt;br /&gt;
'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
&lt;br /&gt;
Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
&lt;br /&gt;
4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditional translation theory research focuses on the original work and the translator. The translator adopts the standards of &amp;quot;faithfulness&amp;quot; and &amp;quot;equivalence&amp;quot; as the criteria for translation, adopts the appropriate translation method, and finds the equivalence of the original language in the target language through linguistic analysis and comparison. This theory of translation is only confined to the micro-linguistic level, with the ultimate goal of faithfully conveying the meaning of the original work and without the constraints of macro-factors such as politics, history and culture outside the language. Guided by this theory, translation critics often take the faithfulness of the translation to the original text as the only criterion for evaluating the quality of the translation based on their own knowledge and experience, which is subjective and biased, and not conducive to the healthy development of translation criticism.&lt;br /&gt;
Since the 1960s, there has been a surge of cultural studies, and translation studies have also drawn nourishment from cultural studies and applied it to translation, injecting new vitality into translation studies. In particular, the &amp;quot;cultural shift&amp;quot; since the 1970s has a more trans-generational significance. Free from the constraints of the traditional &amp;quot;faithful&amp;quot; and &amp;quot;reciprocal&amp;quot; translation concepts, cultural translation research adopts a descriptive approach to analyze the history and cultural background of translations and their cultural influence on the translator's language objectively from the macro cultural context, This reveals the distortion, deformation and fusion of different cultures in the process of communication and collision. &amp;quot;Translation researchers no longer dwell on prescriptive instructions, but focus their research on a descriptive method. Translation is no longer regarded as a transformation between texts, but a unique political, cultural and literary behavior in the target language society. Describing the translation research method broadens the horizon of translation research, facilitates the objective and clear understanding of translation phenomenon, and has a great role in promoting the construction of the translation discipline as a whole.&lt;br /&gt;
In the 1970s, the introduction of the system concept accelerated the revolution of translation research. As a kind of descriptive translation studies, it broke away from the discussion of &amp;quot;how translation should be&amp;quot; that governed translation studies, and encouraged researchers to explore the role of translation in specific cultural contexts.&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109245</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109245"/>
		<updated>2020-12-09T12:06:24Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* 关键字 */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
&lt;br /&gt;
Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
&lt;br /&gt;
===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
&lt;br /&gt;
For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
&lt;br /&gt;
Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
&lt;br /&gt;
Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
&lt;br /&gt;
Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
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==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
&lt;br /&gt;
==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
&lt;br /&gt;
===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
&lt;br /&gt;
In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
&lt;br /&gt;
I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
&lt;br /&gt;
In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
描述翻译学；翻译研究&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109243</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109243"/>
		<updated>2020-12-09T12:04:14Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Key words */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Descriptive translation studies; Translation studies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109230</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109230"/>
		<updated>2020-12-09T11:43:13Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Abstract */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
描述翻译学 翻译研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109228</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109228"/>
		<updated>2020-12-09T11:42:17Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* 摘要 */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
&lt;br /&gt;
For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
&lt;br /&gt;
As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
&lt;br /&gt;
4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
&lt;br /&gt;
4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
&lt;br /&gt;
==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
描述翻译学 翻译研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109226</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109226"/>
		<updated>2020-12-09T11:39:33Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* 摘要 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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&lt;br /&gt;
== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
&lt;br /&gt;
Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
&lt;br /&gt;
4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
描述翻译学 翻译研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ''Descriptive Translation'' and Hermanns's ''Translation in Systems'' as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109224</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109224"/>
		<updated>2020-12-09T11:34:35Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* 摘要 */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
描述翻译学 翻译研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ‘‘Descriptive Translation’’ and Hermanns's ‘‘Translation in Systems’’ as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109222</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109222"/>
		<updated>2020-12-09T11:32:34Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* 摘要 */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
描述翻译学 翻译研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's ‘Descriptive Translation’ and Hermanns's ‘Translation in Systems’ as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109219</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109219"/>
		<updated>2020-12-09T11:22:10Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* 摘要 */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
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As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
描述翻译学 翻译研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
The study of descriptive translation has greatly enriched the concept of translation, broadened the horizon of translation research, raised the status of translation research, and promoted the discipline of translation research, and as an important supplement to theoretical translation, descriptive translation has received more and more attention. In this paper, I will take Tuli's Descriptive Translation and Hermanns's Translation in Systems as two examples to briefly introduce the descriptive translation.&lt;br /&gt;
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===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109216</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109216"/>
		<updated>2020-12-09T11:11:14Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Key words */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
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===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
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For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
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Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
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Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
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Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
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===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
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Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
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====Lexical equivalence====&lt;br /&gt;
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Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
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Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
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It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
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====Syntax equivalence====&lt;br /&gt;
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Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
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We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
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====Texual equivalence====&lt;br /&gt;
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Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
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Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
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In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
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The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
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====Stylistic equivalence====&lt;br /&gt;
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Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
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In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
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Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
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Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
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Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
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Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
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Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
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Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
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Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
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尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
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UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
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== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
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== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
&lt;br /&gt;
*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
&lt;br /&gt;
''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
&lt;br /&gt;
4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
&lt;br /&gt;
4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
&lt;br /&gt;
4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
&lt;br /&gt;
Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
&lt;br /&gt;
4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
&lt;br /&gt;
==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
描述翻译学 翻译研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109215</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109215"/>
		<updated>2020-12-09T11:10:24Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Abstract */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
&lt;br /&gt;
===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
&lt;br /&gt;
Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
&lt;br /&gt;
===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
&lt;br /&gt;
For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
&lt;br /&gt;
Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
&lt;br /&gt;
Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
&lt;br /&gt;
===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
&lt;br /&gt;
Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
&lt;br /&gt;
Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
&lt;br /&gt;
In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
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For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
&lt;br /&gt;
In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
&lt;br /&gt;
Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
&lt;br /&gt;
4.3 The experience of the construction of linguistics&lt;br /&gt;
&lt;br /&gt;
In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
&lt;br /&gt;
Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
&lt;br /&gt;
Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
&lt;br /&gt;
==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
&lt;br /&gt;
== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
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==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
描述翻译研究将翻译置于译入语社会文化背景下进行考察, 极大地丰富了翻译的概念, 开阔了翻译研究的视野, 提高了翻译研究的地位, 促进了翻译研究的学科化, 作为理论翻译学的重要补充, 描述翻译学受到了越来越多的重视。本文将以以图里的《描述翻译学》和赫曼斯的《系统中的翻译》两本著作为例, 对描述翻译学进行简单的介绍。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109211</id>
		<title>History of Translation Studies 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_10&amp;diff=109211"/>
		<updated>2020-12-09T10:49:28Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Yan Fu from descriptive translation studies	曹润鑫	Cao Runxin */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第十部分(Part 10)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
='''Functional Equivalence'''=&lt;br /&gt;
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== On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
functional equivalence, formal equivalence, translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
功能对等，形式对等，翻译&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
&lt;br /&gt;
As a specific form of cultural activity, translation is characterized by the interactive conversion of bilingual (original language and target language), but this does not mean that translation is limited to a certain language operation or language activity. This phenomenon of bilingual interaction or cultural interaction with language as a mediator, and the resulting variations in phonetics, words, grammar, and style, are by no means covered by linguistic theory. &lt;br /&gt;
&lt;br /&gt;
Nida, a American linguist, translator and translation theorist, conducted his academic activities based on the translation of the Bible. During this process, Nida proceeded from actual conditions and developed his own translation theory, which eventually became one of the classics in translation studies. Meanwhile, he believes that translation should play a communicative role due to its essence. During the translation process, it is necessary to consider factors such as the author, text, background and readers so as to make the recipients understand the translation more easily. It is actually based on this idea, the concept of functional equivalence theory came into being. He pointed out that the theory of functional equivalence includes form equivalence and content equivalence. When the two contradict, he is convinced that the content comes first and the form comes second. This is also the first principle of functional equivalence. The second principle of functional equivalence is that you can’t simply focus on content as Nida believes that content precedes form does not mean that translators need to give up form and devote themselves to content. He suggested that when the translator cannot take into account the two at the same time, he should consider the content first, and at the same time, try to make the style of the translation close to the style of the original text. In order to balance the relationship between the two, Nida also proposed a series of improvements. The third principle is that Nida requires natural and smooth translation. In order to obtain a true and smooth translation, Nida believes that readers of the source language and cultural context and target language must be considered.&lt;br /&gt;
&lt;br /&gt;
===Functional Equivalence===&lt;br /&gt;
In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.(尤金·奈达．语言文化与翻译［M］．严久生，译．1998)&lt;br /&gt;
&lt;br /&gt;
Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). &lt;br /&gt;
&lt;br /&gt;
To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. &lt;br /&gt;
Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.&lt;br /&gt;
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===Formal equivalence===&lt;br /&gt;
&lt;br /&gt;
Formal equivalence, though seeking equivalence as well, focusing mainly on the form and content, attempting to achieve complete consistency of information and structure between the source text and the target text. It includes three parts: (1) Consistency of grammar, that is , grammatical elements of the source text should be consistent with those of the target text. (2) Consistency of expression, which means the words and phrases of the target text should keep the original connotation expressed in the source text. (3) Consistency of the meaning in the source context, signifying that the context created by the source text should be kept in the target text. (UGENEA．NIDA．,2005:167） &lt;br /&gt;
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Gloss translation can best reflect the features of formal equivalence as explanation will be used to better reappear the meaning and context of the source text, thus enabling people to have a better understanding of the source language and the source text. This is, however, hard to achieve for there are great differences existing between different languages especially between Chinese and English. From the perspective of linguistics, the biggest difference between them is that Chinese is a parataxis language while English is hypotaxis, that is to say, English is an overt cohesion-prominent language and its clauses are often arranged with connectives while Chinese is a language that connectives are not compulsory and its clauses are often short and its structure is not so complex as that of English. Besides, the former is a more static language in which nouns and adjectives are always used, but the latter a more dynamic one, verbs are more active. English has a systematic grammar but Chinese seems freely arranged. Furthermore, in English, nouns, prepositions and pronouns are always used like personal pronouns “we” “they” “you” and relative pronouns “that” “which” “whose” in long and complicated sentences to make them more explicit and avoid repetition. In Chinese, pronouns are rarely used as the structure of the sentences is relatively loose and short sentences are preferred, so it seems more appropriate to use verbs. From the perspective of voice, it is evident that passive voice is frequently used in English especially in texts concerned with science and technology as western people seem to be more objective when viewing the world and they attempt to employ passive voice to make their description more objective. Chinese, however, are more subjective, so they often use active voice to express opinions.&lt;br /&gt;
&lt;br /&gt;
===Relationship between functional equivalence and formal equivalence===&lt;br /&gt;
In the book “Scientific Exploration in Translation”, he proposed and distinguished the concepts of “formal equivalence” and “dynamic equivalence”. “Formal equivalence” means stressing more on information itself, in terms of both form and content. This sort of equivalence, however, is rare, so he lays stress on dynamic equivalence.&lt;br /&gt;
&lt;br /&gt;
For formal equivalence, source text is prior to other elements, so the translator must strictly follow the ideas, sentence structure as well as rhetoric. In this case, the translator are not allowed to add any other information at will and is restricted by many factors. Nevertheless, for functional equivalence, the translator can supplement their own understanding on the basis of the source text to make the translation more lively and vivid, actually a better  and more innovative way to reproduce the source text. Take a sentence for example: “ I gave my youth to the sea and I came home and gave my wife my old age.”, this sentence can be translated into different versions. If with a way of formal equivalence, it can be translated into “我把青春给了海洋，我回家时，给妻子的只有迟暮之年。”, which seems more direct and similar to the original sentence in structure. When translated based on the functional equivalence, it will be like this: “我把青春献给了海洋，等我回家见到妻子的时候，已是白发苍苍。”, which is much more vivid and easy to understand for the target readers.&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence, though stressing equivalence in different aspects, are actually interdependent. Form in translation refers to the rhetorical function and skills as well as the sentence structure. Without formal equivalence, we are not able to guarantee the accuracy of the translation let alone achieving functional equivalence. Likewise, without functional equivalence, formal equivalence will be meaningless.&lt;br /&gt;
&lt;br /&gt;
Furthermore, functional equivalence and formal equivalence are both regarded to be relative. (余敏军，2009:193）That is to say, this sort of equivalence is impossible to be wholly and fully achieved as a great number of differences exist between Chinese and English. Chinese and English differ in language structure, mode of thinking, cultural background and etc. As a matter of fact, sometimes when we translate Chinese into English or English into Chinese, we can’t even find the corresponding word thus even more difficult to achieve the equivalence in lexis and sentence structure. From the perspective of cultural influence, readers of the source text and the translation will hold different views even towards the same thing due to different cultural backgrounds. For instance, Chinese people will express their feeling by dint of material objects while the Western countries focus more on science and will employ it to account some social phenomena.&lt;br /&gt;
&lt;br /&gt;
Translation is the reproduction of the source language information in the most appropriate, natural and equivalent language, including the reproduction from semantics to stylistics. That is to say, in Nida’s view, functional equivalence should take precedence over formal equivalence, but it is not only about content, regardless of form. While achieving equivalence in content and information, it also requires equivalence inn form as much as possible. But actually of the two, priority is given to equivalence in content.&lt;br /&gt;
&lt;br /&gt;
===Application of functional equivalence and functional equivalence in translation===&lt;br /&gt;
&lt;br /&gt;
Functional equivalence and formal equivalence are vital translation theory for guiding the translation practice. This theory has lifted the restrictions of traditional ideology and provide a new perspective for translators.&lt;br /&gt;
&lt;br /&gt;
====Lexical equivalence====&lt;br /&gt;
&lt;br /&gt;
Firstly, as I have mentioned above, sometimes it is difficult to find the corresponding word when translating. For instance, in China, “慢走” is frequently used when our friends or guests we are not familiar with is going to leave. People in western countries, however, are unlikely to express in this way. Instead, they simply say “Bye” or “Have a nice trip!”. The latter actually will be used only when friends plan to travel somewhere far away. These two expressions in English bear different meaning compared with the expression in Chinese. Therefore, faced with such situation, we have to choose words or phrases to express it in a different way based on the context. For example, we can express it as “Take care. Hope to see you soon.” to express our feeling in a polite and emotional way.&lt;br /&gt;
&lt;br /&gt;
Furthermore, there are some words or phrases containing cultural connotations in both Chinese and English. When translating such words or phrases, we must explore the underlying meaning and try to explain it in detail, helping readers to have a correct and good understanding towards it. Take “Achilles’ heel” for instance, it can be translated into “阿格硫斯的脚后跟” in a direct way. However, Chinese people knowing nothing of “Achilles’ heel” will find it difficult to understand. Considering the needs of people under Chinese background , we have to explain this word and uncover the real meaning this phrase intends to express. Actually, Achilles, the son of Neptune, is a heroic person. It is said that his mother dipped him wholly except his heels in the river Acheron to make him impervious to sword or spear. Thus this phrase is supposed to translated into fatal weakness. Likewise, “Victoria girl” should be translated into “思想保守的女性” as England was relatively conservative in Victoria period so later Victoria, the queen’s name, was used to refer to those conservative women. &lt;br /&gt;
&lt;br /&gt;
It is very common that a word in English may bear several different meanings so in this case, we have to guess the meaning according to the context. For example, the word “club”, which is very familiar to us, can be used as a verb as well as a noun. At the first thought, “俱乐部” will come to our mind but in the following sentence, it doesn’t make sense if we translate “club” into “俱乐部”. &lt;br /&gt;
“When civil rights leaders are clubbed, whipped and tramples by white lawmen as feral white onlookers cheer, the youngsters seemed aghast.”&lt;br /&gt;
In that sentence, it is obvious that “club” is used as a verb. Considering the meaning of “whip” and the original meaning of “club”, we can find that “club” here may refers a sort of hitting. Consequently, we have consider carefully over and over again and determine the meaning of a word after having grasped the rough meaning of the sentence.&lt;br /&gt;
&lt;br /&gt;
====Syntax equivalence====&lt;br /&gt;
&lt;br /&gt;
Syntax equivalence is far more complicated and difficult to achieve compared with lexical equivalence with great differences existing between Chinese and English. Therefore, we need to employ proper translation skills to cope with different sentences.In English, people prefer to be direct so the most important part of the sentence is most likely to be presented at first while in Chinese, people are accustomed to organize the sentence in a natural order, that is, from facts to conclusion or from reasons to result. Sometimes we can translate the sentence from word by word or phrase by phrase but in most cases we will change the order based on the common expression ways of target language to make the sentence more understandable to the target language readers. The example can be seen as follows: &lt;br /&gt;
“Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements--themselves made relatively easy nowadays by modern means of transport.”&lt;br /&gt;
Translation: 由于人口的猛增或大量人口流动（现代交通工具使这种流动相对容易）造成的种种问题也会对社会造成新的压力。&lt;br /&gt;
&lt;br /&gt;
We can see that in the Chinese version, order of the reason and the result is reversed to make the sentence more smooth.&lt;br /&gt;
When translating, we can choose literal translation so as to achieve the formal equivalence or we can seek free translation to based on functional equivalence. In daily life, we Chinese often greet people with “吃了吗?去哪啊?” as we regard food as something that matters much to our life. As a matter of fact, these words bear no actual meaning but a simple way to greet. Thus we will translate that sentence into “Hi, how are you? What a nice day, isn’t it?”. &lt;br /&gt;
There is a special kind of interrogative sentence in English called disjunctive question like the following dialogue:&lt;br /&gt;
“You’re not a student,are you?”&lt;br /&gt;
“Yes, I am.”  &lt;br /&gt;
Here, in this dialogue, we can see that the answer is positive but if translated into Chinese, it will be like this: “不，我不是学生”, which actually is negative.&lt;br /&gt;
&lt;br /&gt;
====Texual equivalence====&lt;br /&gt;
&lt;br /&gt;
Text, or discourse is a coherent and cohesive unit, achieved through one or more sequences, which are composed of components that are closely related to each other. Pursuing the equivalence in words or sentences can absolutely not satisfy, we need to pay more heed to textual equivalence. A sentence can be translated in different ways but we have to choose one based on the context. &lt;br /&gt;
&lt;br /&gt;
Example: “祥子！”她往前凑了凑：“我有啦！” &lt;br /&gt;
“有了什么？”他一时蒙住了。&lt;br /&gt;
“这个！”她指了指肚子。“你打主意吧！”&lt;br /&gt;
Translation: “Xiangzi,” she came closer. “I am in trouble!”&lt;br /&gt;
“What trouble?” He was startled.&lt;br /&gt;
“This!” She pointed her belly. “What was you going to do about it?”&lt;br /&gt;
According to China’s traditional customs, women would always express their being pregnant in an indirect way like “我有了” in Chinese instead of “我有孩子了”. In this situation, “我有了” here is translated into “I am in trouble!” as she conceives a baby before she marries, which is deemed as a behavior that is in grave breach of the norms of Chinese society.&lt;br /&gt;
&lt;br /&gt;
In addition, we need to take the situation or background in which the texts took place into account and endeavor to get the inner  connotation it bears. &lt;br /&gt;
Example: So that when lieutenant Osborne, coming to Russel Square on the day of the Vaux hall party said to the ladies,” Mrs Sedley,ma,ma,I hope you have room, I haveasked   Dobbin of ours To come and dine here, and go with us to Vaux hall. He was almost as modest as Joe. &lt;br /&gt;
Here “modest” in the last sentence can’t be translated into “谦虚的” as it will confuse the readers and it is far from that. According to the description of Joe above, we can figure out exactly his characteristics, so we can reasonably infer that it actually means shy.&lt;br /&gt;
&lt;br /&gt;
The last element we should never ignore is cultural context given that there are great cultural differences between English and  Chinese. We are supposed to consider the cultural background of the author of the source text as well as certain hidden or ineffable Connotations.&lt;br /&gt;
Example: She had thin blond hair and her face was pretty and Petite in a Regency way, oval like a miniature, though she had a harsh way of speaking--perhaps the account of the school, Roedean or Cheltenham Ladies’ College, which she had not long ago left.&lt;br /&gt;
We can’t simply translate it into “长着细细的淡黄色头发，脸蛋娇小玲珑，一副摄政时期的模样。” as here the word “Regency” still seems confusing to us. Instead, the translation should be like this: “她长着纤细的淡黄色头发，漂亮的鹅蛋脸小巧玲珑，颇符合摄政时期的风范......” and add the explanation that “ ‘Regency’ refers to the period the son of George the Third reigned, during which those slender women are regarded to be the most gorgeous.” In this way, readers will have a more clear sense of this.&lt;br /&gt;
&lt;br /&gt;
====Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
Popovic put forward the stylistic equivalence and define it as the functional equivalence between the source text and the target text. We will find different types of texts in the process of translation and we must achieve the equivalence in styles according to the functional equivalence and formal equivalence theory. Such equivalence is best reflected in the translation of poetry, which is characteristic of rhyme and cultural connotations.&lt;br /&gt;
Example: 清明&lt;br /&gt;
杜牧&lt;br /&gt;
清明时节雨纷纷，路上行人欲断魂。&lt;br /&gt;
借问酒家何处有? 牧童遥指杏花村。&lt;br /&gt;
Translation by Wu Juntao:&lt;br /&gt;
The Pure Brightness Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
It drizzles thick and fast on the Pure Brightness Day,&lt;br /&gt;
I travel with my heart lost in dismay.&lt;br /&gt;
“Is there a public house somewhere, cowboy?”&lt;br /&gt;
He points at Apricot Village faraway.&lt;br /&gt;
&lt;br /&gt;
In this translation, “清明节” has been translated into “Pure Brightness Day”, which may seem not completely fit as it simply reflect the features of this day from the surface. In this way, target readers may have little knowledge about this and treat this day as a normal pure and bright day. However, functional equivalence and formal equivalence theory can be vividly reflected in the following content. The translator has achieved equivalence both in content and form as he rhymed and expressed based on the form and content of the source text, trying to make target readers have a good understanding of the source text based on the information expressed in the translation..&lt;br /&gt;
Translation by Xu Yuanchong:&lt;br /&gt;
The Mourning Day&lt;br /&gt;
By Du Mu&lt;br /&gt;
A drizzling rain falls like tear on the Mourning Day;&lt;br /&gt;
The mourner’s heart is going to break on his way.&lt;br /&gt;
Where can a wineshop be found to drown his sad hours?&lt;br /&gt;
A cowherd points to a cot ’mid apricot flowers. &lt;br /&gt;
&lt;br /&gt;
In this translation, Xu Yuanchong attempts to give a more detailed and vivid description of the scene and the feeling of the person in this poetry. In addition to simply expressing the content from the surface, he digs the deep connotations the poetry contains, thus making the translation more simply to be understood and the target readers grasp a deeper understanding of the content, theme and emotion.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Translation theory has been playing an vital role in the process of translation, as always said, theory guides practice while practice testify to theory. Functional equivalence and formal equivalence theory matters a lot and has guided a great deal of translation practice. Though having gone a lot of years and some limitations having been found, Nida’s theory is still worthy learning whether at present or in the future. Therefore, we should choose to apply functional equivalence or formal equivalence based on specific condition to achieve the most appropriate and fit translation.  &lt;br /&gt;
&lt;br /&gt;
Proper application of formal equivalence helps to preserve the spirit and unique features of the source text and to further promote people to have a good grip of foreign culture and customs. However, more often than not, it is difficult to find an English sentence pattern that is completely equivalent to express the same connotation in Chinese. Therefore, the translator needs to convert the deep structure of the source language into the surface structure of the target language, that is, using the corresponding words in the target language to directly explain the connotation of the original text, so that the target readers can more easily accept the translation. According to Nida’s translation theory, dealing with cultural differences is closely related to the reproduction of the source language in the target language from semantics to stylistics. Only when the translation reproduces the style and spirit of the source language from the language form to the cultural connotation, the translation can be called an excellent work. This method provides a good example for translation studies in every countries. For our country, it reminds us that translation studies should absolutely limited to the field of translation. We must break the boundaries of disciplines and combine other sciences to study translation. In this way, translation theories derived from scientific evidence will be much more scientific and systematic.（张赟娇,张 军,2018:114)&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Xia Jun夏珺.(2016).再看奈达翻译对等——形式与功能之博弈与互补[Nida's equivalence theory-combat and complement between formal equivalnce and formal equivalence].黔南民族师范学院学报,Journal of Qiannan Normal University for nationalities,36(06):27-32.&lt;br /&gt;
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Huang Wei黄蔚.(2020).功能对等理论与目的论的对比分析[Comparative analysis on functional equivalence and skopos theory].英语广场,English space(10):38-40.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜.(1999)．新编奈达论翻译［A new version of Nida's theory on translation］．北京:中国对外翻译出版公司，Beijing:China Translation and Publishing Corporation,1999:XXIII．&lt;br /&gt;
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Zhang Yunjiao, Zhang Jun张赟娇,张军.(2018).浅谈尤金·奈达功能对等理论的价值与局限[The value and limitations of Nida's functional equivalence].安徽文学(下半月),Anhui Literature,(09):114-115.&lt;br /&gt;
&lt;br /&gt;
Zhong Yuchen钟宇宸.(2019).尤金·奈达及其功能对等理论综述[Summary of UGENEA．NIDA．and his functional equivalence].当代旅游,Contemporary travelling,(08):262.&lt;br /&gt;
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Zhang Yimei张忆美.(2020).对比“信达雅”与功能对等[Comparison between &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot; and functional equivalence].青年文学家,Youth Literator,(23):180-181.&lt;br /&gt;
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Zhang Xuefang张雪芳.(2008).从动态对等到功能对等——奈达对等翻译观简述[From dynamic equivalence to functional equivalence-Brief introduction of Nida's equivalence theory].安徽文学(下半月),Anhui Literature,(11):392-393.&lt;br /&gt;
&lt;br /&gt;
Yu Minjun余敏军.(2009).论英汉翻译中形式对等和功能对等[Functional equivalence and formal equivalence in Englsh-Chinese translation].黑龙江科技信息,Heilongjiang Science and Technology Information,(30):193.&lt;br /&gt;
&lt;br /&gt;
Yan Yuehe闫月贺.(2019).浅析奈达功能对等理论[Nida's functional equivalence].北方文学,North Literature,(21):251-252.&lt;br /&gt;
&lt;br /&gt;
Qi Xin齐鑫.(2017).浅谈英汉翻译中奈达“功能对等”与“形式对等”理论的应用[The appliction of Nida's theory of &amp;quot;functional equivalence and formal equivalence in translation].校园英语,Campus English,(27):202-203.&lt;br /&gt;
&lt;br /&gt;
尤金·奈达．语言文化与翻译［Language culture and transation］．严久生，译．呼和浩特:内蒙古大学出版社，Hohhot:Inner Mongolia University Press,1998．&lt;br /&gt;
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Junye Li,Pinglan Zhang.(2019). Application of Functional Equivalence Theory in Civil Engineering Text Translation[J]. Open Journal of Modern Linguistics,9(4).&lt;br /&gt;
&lt;br /&gt;
UGENEA．NIDA．Towards Science of Translating［M］．上 海:上海外语教育出版社，Shanghai: Shanghai Foreign Language Education Press,2005:167,165，159．&lt;br /&gt;
&lt;br /&gt;
== My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==&lt;br /&gt;
&lt;br /&gt;
== Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of  the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
Functional Equivalence; Folding Beijing ; meaning; style; culture&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
功能对等；《北京折叠》；意义；风格；文化&lt;br /&gt;
&lt;br /&gt;
==='''Introduction'''===&lt;br /&gt;
In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.&lt;br /&gt;
This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.&lt;br /&gt;
&lt;br /&gt;
'''1.Eugene A. Nida and His Theory of Functional Equivalence'''&lt;br /&gt;
&lt;br /&gt;
Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. &lt;br /&gt;
Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.&lt;br /&gt;
&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
&lt;br /&gt;
==='''Bibliography'''===&lt;br /&gt;
&lt;br /&gt;
== On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==&lt;br /&gt;
&lt;br /&gt;
==A Study on Yu Guangzhong’s Chinese Version of ''The Importance of Being Earnest'' from the Perspective of Functional Equivalence 余妮 Yu Ni==&lt;br /&gt;
===Abtract===&lt;br /&gt;
''The Importance of Being Earnest'' is a satirical comedy of manners written by Irish playwright Oscar Wilde in the 19th century. Dialogues in this play are sharp, witty, and full of epigrams, which are not easy to translate. There are many Chinese versions, among which the most popular one is Yu Guangzhong’s version. From the perspective of functional equivalence proposed by Nida, Yu Guangzhong’s translation has its own merits. Guided by the functional equivalence theory, this paper explores the translation strategies of the drama title, characters’ names and dialogues in Yu’s version. It helps to create more excellent translation and promote the development of drama translation. &lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence; ''The Importance of Being Earnest''; Yu Guangzhong&lt;br /&gt;
===题目 ===&lt;br /&gt;
功能对等理论下余光中译《不可儿戏》分析&lt;br /&gt;
===摘要===&lt;br /&gt;
The Importance of Being Earnest是19世纪爱尔兰剧作家王尔德所写的一部讽刺风俗喜剧。他的作品妙语逼人，警句诸多，想要译得传神并不简单。在众多译本中，余光中的译本《不可儿戏》最受推崇。从奈达提出的功能对等视角分析，余光中的译本确有其出色之处。本文以功能对等理论为指导，探究余光中译本中剧名、人名及人物对话的翻译策略。从而创造出更优秀的翻译作品，推动戏剧翻译事业的发展。&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等；《不可儿戏》；余光中&lt;br /&gt;
===Introduction===&lt;br /&gt;
The Importance of Being Earnest is a comedy of manners written by Oscar Wilde in the 19th century, which is also his most successful comedy. In this play, there are plenty of sharp dialogues, as well as aphorisms. Among its various Chinese versions, Yu Guangzhong’s is the most popular, which not only tells us the fabulous story, but also remains the flavor of the source language when translating.  &lt;br /&gt;
This thesis analyzes Yu Guangzhong’s Chinese version of The Importance of Being Earnest from the perspective of functional equivalence. We can know more about the language features and translation strategies of Yu Guangzhong’s version. This chapter generally introduces the background and significance of the research, including the layout of the thesis.&lt;br /&gt;
Nowadays, researchers pay more attention to the study of translation. In order to gain experience from famous translators through their translation, scholars carried out a series of researches towards Chinese versions of this play. Chen Yaoyao (2019) studied Yu Guangzhong’s translation strategies from the perspective of dualistic nature of the drama. Shi Qiulei (2011) analyzed Yu Guangzhong’s translation strategies from the perspective of cultural turn. Liang Wei (2009) and Shen Zhengrong (2007) compared two Chinese versions of The Importance of Being Earnest. Liu Guilan (2015) did the research on the secularization in its Chinese version.&lt;br /&gt;
“The first Chinese version of The Importance of Being Earnest was Tongming Quyi (《同名娶异》) co-translated by Kong Xiangwo and Wang Jing in 1921, which came out by the May 4th Movement and the New Culture Movement in order to promote new literature and the reform of drama in China” (Wu Shanshan, 2012). Although it was the earliest version, it did not gain much attention. In the 1980s, Yu Guangzhong and Qian Zhide translated the play respectively. Yu Guangzhong translated it as “不可儿戏”, while Qian Zhide translated it as “名叫埃纳斯特的重要性”. As far as I am concerned, Yu’s version is more acceptable for readers. It has been put on the stage in Guangzhou and Hong Kong for many times, while Qian’s version is rarely followed.&lt;br /&gt;
American linguist Eugene Nida put forward the theory of “functional equivalence”, that is, the translation and the original context should achieve equivalence in functional aspect, rather than rigid correspondence word by word, which coincides with the principles of Yu Guangzhong’s version of The Importance of Being Earnest. Through the study, we are able to gain suggestions of drama translation and produce excellent works. In this way, readers become more interested in foreign works, which is also beneficial to cultural diffusion.&lt;br /&gt;
The thesis comprises five chapters. The first chapter mainly introduces the research background, significance and layout of the thesis. Chapter Two gives an introduction of functional equivalence, including others’ views on it and its features. The next chapter focuses on Oscar Wilde and The Importance of Being Earnest, as well as its Chinese versions, especially Yu’s version. Chapter Four is the core of the thesis, which appreciates and analyzes Yu’s version from the perspective of functional equivalence. The appreciation focuses on the translation of the drama title, characters’ names and dialogues. In the last chapter, the author draws the conclusion.&lt;br /&gt;
&lt;br /&gt;
===An Introduction of Functional equivalence===&lt;br /&gt;
====The Definition of Functional Equivalence====&lt;br /&gt;
In order to set a standard for the conversion between the source language and the target language and reduce the differences, Eugene A. Nida proposed the famous “dynamic equivalence” translation theory, also known as “functional equivalence”, from the perspective of linguistics and according to the nature of translation. In this theory, he pointed out that “translation is to reproduce the information of the source language from semantics to styles in the most appropriate, natural and equivalent language”. Nida’s definition of translation indicates that translation is not only lexical equivalence, but also semantic, stylistic and stylistic equivalence. The equivalence in “dynamic equivalence” includes four aspects: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. In these four aspects, Nida believes that “meaning is the most important, followed by form”. Form is likely to hide the cultural meaning of the source language and hinder cultural communication. Therefore, in literary translation, according to Nida’s theory, the translator should take the four aspects of dynamic equivalence as the translation principle and accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
====Three Steps of Translation====&lt;br /&gt;
Firstly, efforts should be made to create target language that not only conforms to the semantic meaning of the original text but also reflects the cultural characteristics of the original text. However, the two languages represent two completely different cultures. Cultures may have similar factors, but they cannot be identical. Therefore, it is impossible to create perfect translation which fully display the cultural connotation of the original text. The translator can only reproduce the source culture to the maximum extent.&lt;br /&gt;
Secondly, if meaning and culture cannot be taken into account at the same time, the translator has to abandon formal equivalence and achieve the purpose of reproducing the meaning and culture of the original text by changing the form of the original text in the translation. For example, the English proverb “white as snow” can be translated into Chinese as “白如雪”. However, there is almost no snow in southern China all year round. In their cultural background knowledge, there is no concept of “雪”. How to understand the connotation of snow? In the translation, translators can eliminate cultural differences by changing the form of vocabulary. Therefore, this proverb can be translated into “white as mushroom” and “white as egret’s hair”. In the English idiom “spring up like mushroom”, the original meaning of “mushroom” is “蘑菇”. However, when translated into Chinese, it means “雨后春笋” rather than “雨后蘑菇”, because in Chinese culture, people are more familiar with the idiom and understand the image of “雨后春笋”.&lt;br /&gt;
Thirdly, if the change of form is still not enough to express the meaning and culture of the original text, the translation technique of “recreate” can be used to solve the cultural differences, so that the source language and the target language can achieve the meaning equivalence. “Recreate” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is to explain the cultural connotation of the source language articles with the words of the target language. &lt;br /&gt;
===''The Importance of Being Earnest'' and Its Chinese Versions===&lt;br /&gt;
As one of Wilde’s most successful play, The Importance of Being Earnest is the rage in the 19th century. The author will introduce this play first, including its author, background and language features. And then, we will talk about its Chinese versions.&lt;br /&gt;
====An Introduction of Oscar Wilde and His Works====&lt;br /&gt;
Oscar Wilde was born in Dublin, Ireland. As a “born for art” writer, he was known for his plays, poetry, fairy tales and novels. “He was the main force of the aesthetic movement in the 1880s and the pioneer of the decadent movement in the 1990s” (Yang Wenqian, 2014). As a representative of aestheticism, he always deliberately left out the relationship between art and other things. On the surface, Wilde wrote for the pursuit of art, but the essence of his work goes beyond art. He created four comedies in his life: “Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895)” (Wu Jie, 2014).  &lt;br /&gt;
The Importance of Being Earnest is Wilde’s masterpiece, written in the Victorian era. “The Importance of Being Earnest is apt to be a stumbling block both to the detractors and admires of Oscar Wilde as a man of letters” (Richard Foster, 1956). Critics have different opinions on his other works, including poems and novels, but almost unanimously regard this play as a perfect one. It made a great sensation when first put on St. James theatre on February 14, 1895. In the play, the dandy Algernon and Jack made up the characters of “Bunbury” and “Ernest” for their own purposes. Through some misunderstandings, the play continued to develop and the truth was revealed. It turned out that Jack was actually Algernon’s brother. The play ended with “I’ve now realized for the first time in my life the vital Importance of Being Earnest”. The play revolves around the dual identities of Algernon and Jack, describing the behavior of high-class figures. Wilde pointed out the characters’ absurd views of marriage and deep-rooted hierarchies and revealed the hypocritical ethical concepts in Victorian era.&lt;br /&gt;
As a writer, Wilde often uses humorous language to express complex thoughts and feelings and explain some meaningful philosophy. The highlights of the play are not the plots but the dialogues. In order to reveal characters’ personalities, he employed a variety of rhetorical devices and aphorisms to produce a humorous effect. Pun is widely used in the play, including the drama title and characters’ names.&lt;br /&gt;
====Chinese Versions of The Importance of Being Earnest====&lt;br /&gt;
This part talks about Chinese versions of The Importance of Being Earnest. It includes an overview of its Chinese versions and Yu Guangzhong’s version.&lt;br /&gt;
=====An Overview of Its Chinese Versions =====&lt;br /&gt;
The Importance of Being Earnest was premiered in London on February 14, 1895. In 1921, Kong Xiangwo (孔襄我) and Wang Jing (王靖) cooperated to translate this famous play. It was the first Chinese version of The Importance of Being Earnest, but it did not get much attention of Chinese readers. “After the foundation of People’s Republic of China, the first new translation of Wilde’s play Selected Plays of Oscar Wilde (《王尔德戏剧选》) was translated by Qian Zhide (钱之德) and published by Huangcheng Press in 1983” (Wen Tong, 2010). He translated it as “名叫埃纳斯特的重要性”. Qian Zhide just translated it out of his own interest, treating it as a play without orally practicing the translated lines. Compared with previous versions, his version was more personal, as his own reminder of the original texts. &lt;br /&gt;
In 1986, Yu Guangzhong’s version came out, with the title “不可儿戏”. It was published by China Friendship Press Corporation. It was popular with people and has been put on stage for many times. Another version appeared in the 1980s when Zhang Nanfeng (张南峰) published A Collection of Two British Plays(《英国戏剧二种》), in which Zhang rendered the title of the play as “认真的重要”. Three years later, in Selected Comedies of Oscar Wilde(《王尔德喜剧选》) published by Haixia Literature Press, Zhang changed his title into “认真为上”. From “认真的重要” to “认真为上”, the author thinks that the latter is much more in line with the content.&lt;br /&gt;
Because of political reasons, studies on Wilde stopped for some time. In 2000, in commemoration of Wilde’s contribution in the literary history, China Literature Press printed a complex six-volume Collection of Wilde’s Works (《王尔德全集》). So far, only the versions of Yu Guangzhong, Zhang Nanfeng and Qian Zhide have been advocated by readers.&lt;br /&gt;
=====Yu Guangzhong and His Chinese Version=====&lt;br /&gt;
Yu Guangzhong was born in Nanjing in 1928. As a writer, Yu Guangzhong is famous for his poetry. “Poetry, prose, translation and critical essay constitute the four dimensions of his writing life” (Li Xin, 2010). He has published 21 poetry collections, 11 prose collections, 5 comment collections and 13 translation collections, Actually, he is also one of the most dedicated translators in the field of translation. “For translators engaged in translation, Yu Guangzhong’s translation thoughts are of great value” (Tong Fangli, 2005). “He thinks that translation is a kind of composition, at least a kind of limited composition” (Wang Chao, 2016). His translation thought derives from his literary creation.&lt;br /&gt;
He thinks translation is closely related to creation, but it is a limited creation and a flexible art. “Yu Guangzhong has translated four comedies in his whole life, which are The Importance of Being Earnest (《不可儿戏》, 1983), Lady Windermere’s Fan (《温夫人的扇子》, 1992), An Ideal Husband (《理想丈夫》, 1995) and A woman of No Importance (《不要紧的女人》, 2008)” (Chen Feifei, 2011). All of these are the works of Wilde.&lt;br /&gt;
Yu Guangzhong’s version of The Importance of Being Earnest was early published in 1983. In the postscript, he elaborated his principle of translating. “The dialogue of the novel is for reader to read. If you don’t understand, you can read it again. The dramatic dialogue is for audience to listen to, and if they do not understand, the dialogues passed. There is no second chance. I translated this book not only for Chinese readers, but also for Chinese audiences and actors. Therefore, my translation principle is to make the reader pleased to read, the audience satisfied to watch, and the actor pleasant to perform” (Yu Guangzhong, 2004). With this principle in translator’s mind, this work can be vividly translated.&lt;br /&gt;
This part mainly introduced the Chinese versions of The Importance of Being Earnest. Among all the versions, Yu Guangzhong’s becomes the most popular one for his profound translation skills. Next, we will analyze his translation strategies.&lt;br /&gt;
&lt;br /&gt;
===The Application of Functional Equivalence to Yu Guangzhong’s Version===&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=Applicaton of Translation Theories=&lt;br /&gt;
=='''Study of Application of Interpretive Theory in Interpretation        韩宛真 Han Wanzhen'''==	&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With economic globalization, exchanges between countries have become more and more frequent and areas of cooperation have continued to expand. The increasing demand for interpretation is the quality of interpretation which is particularly important. Interpretive theory plays an important role in translation, especially in interpreting, and it plays an extremely important role in guiding interpreting practice.Through the reading and analysis of some English-Chinese interpreting materials, this report summarizes some translation strategies and techniques frequently used in interpretation work under the guidance of interpretive theory, and combines translation examples to analyze and summarize. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
interpretive theory; interpretation,; translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
释意理论指导下的口译&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
随着经济全球化，各国之间的交往越来越频繁，贸易往来日益频繁，合作领域也不断地拓宽，口译地需求不断增加是口译质量显得尤为重要。释意理论在翻译中，尤其是口译中扮演者重要的作用，对指导口译实践有着极其重要的作用。本报告通过对一些英汉口译翻译材料地阅读和解析，在释意理论地指导之下总结了一些口译工作中经常使用的一些翻译策略和方法技巧，并且结合了翻译实例进行分析和概括。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
释意理论；口译；翻译策略&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
In this part, it mainly talks about some information about the interpretive theory and some knowledge about the Interpretation. Both of them are important for the development of translation.&lt;br /&gt;
==='''1.1 Introduction of Interpretive Theory'''===&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.General translation theories believe that there are three different levels of translation: vocabulary translation, sentence translation and text translation. The interpretive school has its own unique insights in this regard. The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
The interpretive theory is also called the expressive theory, which was created by the interpretive school. This school explores the principles and teaching of French interpretation and translation of non-literary texts. The main representatives of this school, Danica Seleskovitch and Marianne Lederer, founded this school and made important contributions to the generation and development of interpretive theory. The interpretive school believes that translation is paraphrasing, that is, the translator interprets the source text through language symbols and his own cognitive supplementation during the translation process. This school believes that translators cannot copy the form of the source language to translate the text in the process of translation. What they pursue is not language equivalence but meaning equivalence. The theory of this school is directly derived from the practice of interpretation and has a unique inspiration for the study of translation.&lt;br /&gt;
General translation theories believe that there have three different levels of translation: vocabulary translation, sentence translation and tect translation. The interpretive school has its own unique insight in this regard.The interpretive school refers to word-by-word translation and sentence-by-sentence translation as language translation (Linguistic Translation, and text-level translation is called text translation or translation. This school believes that successful translation is carried out at the level of the text and interpretives the text. Because the school believes that the sentence is a grammatical unit, and the text is a semantic unit, the interpretive theory studies meaning not grammar, so the school is particularly faithful to the textual interpretive. The equivalence of the original text and the target text is expressed in the overall communicative meaning, at is, the readers of the target text can have the same reaction as the readers of the original text, thus achieving the equivalence considered by the interpretive school.The core of interpretive theory is to distinguish linguistic meaning from non-verbal sense. What the translator wants to convey is not the meaning of linguistic signs, but the non-verbal meaning expressed by the speaker in his speech. In other words, the essence of meaning is the &amp;quot;meaning&amp;quot; conveyed by communicators through language symbols, not the meaning of language symbols themselves. The meaning is mainly composed of two components. The first is the implied meaning (implicite), which means that the speaker actually wants to express the meaning: the second is the explicite, which the speaker actually says content.&lt;br /&gt;
Although translation and interpreting have different forms, they are essentially a communicative act, but in translation, the relationship between the translated material and the real world is not as close as in interpreting (for example, an ancient text, the author’s writing Intent-that is, &amp;quot;implied meaning&amp;quot;may become unknowable due to age). Interpretation is different: it is regarded by the interpretive school as the most ideal communication situation, because when interpreting is used, all the interlocutors are present, they share the same time and space environment, and under normal circumstances, they also have a common communication topic. Based on the above understanding, the purpose of translation should be to convey meaning, that is, communicative meaning; what the translator translates should be the content of the information conveyed by the text, which is speech (that is, the use of language), not the language itself. Interpretation is not based on the memory of the original speaker's language, but based on the translator's grasp of the communicative meaning conveyed by the original speaker and subsequent reorganization of the communicative meaning (that is, the speaker's meaning) in the target language. At this point, we can see that the interpretive theory first separates grammar from semantics and points out that translation is interpretive; then it separates linguistic meaning from non-verbal meaning, and points out that the translator translates meaning. And the meaning is the communicative meaning.&lt;br /&gt;
The interpretive school's theory pays much attention to the study of translation process. In a sense, it can even be considered that the focus of the school's attention is the translation process. The interpretive theory believes that in interpreting, the interpreter actually goes through three stages before turning the speaker's words into words that the audience in another language can understand:&lt;br /&gt;
The first stage is the understanding of meaning, through understanding and analyzing language signs to clarify the linguistic phenomenon and thought content to be expressed, this stage is called interpretation of discourse. The part of discourse elaboration is extremely important, because after the discourse has been uttered by the speaker, its oral expression will immediately disappear, but after this part of discourse is elaborated, it will become the translator’s thought. In his mind, what the speaker has already said returns to the original state, that is, the state of pure thought that has not been expressed in language. This &amp;quot;thought that has not been expressed in words&amp;quot;(Seleskovic, 1979: 113) can be re-expressed at a normal speed through the interpreter’s language, so the discourse elaboration connects the speaker and the translator, just like a bridge for the people.&lt;br /&gt;
The second stage is cognitive supplementation, away from the shell of the source language. At this stage, we need to forget the deconstruction of language signs, and only need to remember the thought content it expresses, that is, the cognitive and emotional meanings produced by language signs. This stage is called &amp;quot;de-verbalization&amp;quot;. Adding the process of breaking away from the language shell between understanding and expression is the result of the study of interpretive language and a contribution to the science.&lt;br /&gt;
The third stage is the reformulation stage of the original information content. That is to use another language symbol to create new sentences, and these sentences need to express the full content of the original utterance and easy to understand the two requirements.&lt;br /&gt;
In general, interpretive theory does not regard translation as a one-way decoding process of transforming a source language into a target language. It is a dynamic process of understanding ideas and then re-expressing them.&lt;br /&gt;
&lt;br /&gt;
==='''1.2 Introduction of Interpretation'''===&lt;br /&gt;
Interpretation, also known as interpreting, is a kind of translation activity. As the name implies, it is a way for the translator to convert the input language into the output language in a spoken way. Oral translation is the simultaneous interpretation while the speaker is still speaking, which means the staff will simultaneously translate.&lt;br /&gt;
Translation work is the bridge and link of our country's foreign exchanges and international exchanges. The development of translation business is also an inevitable requirement of our country's foreign reforms. It can improve the quality of translators and strengthen the construction of translators. Translation talents play a very important role in our country's economic development and social progress, especially in attracting foreign advanced technical knowledge and strengthening international exchanges and cooperation. The improvement of the political and professional quality of translators plays a key role in strengthening international cooperation in all aspects of our country's politics, economy, science and technology.&lt;br /&gt;
There are very strict requirements regarding the selection of simultaneous interpreters. During simultaneous interpretation, the interpreter should continuously interpret the content to the audience without disturbing the speaker. Simultaneous interpretation, as a translation method, is characterized by high efficiency. The average translation interval between the original text and the target text is three to four seconds, with a maximum of ten seconds, so the speaker can speak coherently without affecting or interrupting the speech. The reader’s thinking is conducive to the audience’s understanding of the full text of the speech. Simultaneous interpretation is an extremely difficult inter-language conversion activity that is strictly limited by time. It requires the hospital to quickly complete the prediction of the source language in a very short time with the help of the existing subject knowledge while listening to the source language speech. Comprehension, memorization and conversion, and at the same time monitor, organize, modify and express the target language, and speak the target language translation. At international conferences, simultaneous interpreters need to use &amp;quot;lightning thinking&amp;quot; and superb language skills to successfully overcome the interweaving and interference of multiple tasks, which can easily cause energy shortages or difficulty in distributing attention to the brain. According to the regulations of AIIC (International Conference Interpreters Association), simultaneous interpreters only need to translate 80% of the speaker's speech content as a pass rate (90%-100% &amp;quot;simultaneous interpretation&amp;quot; is almost impossible). Many people usually speak very fast. When giving speeches, they often only take into account their own speech content, even with accents and even dialects from various places. The simultaneous interpreters have to mobilize all their knowledge reserves and experience to go all out. In addition to solid language skills and mature conference experience, entering the simultaneous interpretation industry also requires a strong desire for knowledge. Due to professional needs, translators often have to deal with knowledge in many fields while doing translation, so some people say &amp;quot;simultaneous interpretation is a half-expert in any field.&amp;quot;. Mastering the knowledge of broadcasting is the prerequisite for good simultaneous interpretation.&lt;br /&gt;
==='''2. Literary Review'''===&lt;br /&gt;
No matter the interpretive theory and the interpretation,many people around the world have done some researches about them.And these researches about them can do great help for us to do further researches about them.&lt;br /&gt;
==='''2.1 The Research on Interpretive Theory'''===&lt;br /&gt;
Regarding the study of interpretive theory, there have been many scholars both at home and abroad who have conducted special research on it, and they have made important contributions to the continuous development of interpretive theory.&lt;br /&gt;
The first thing I mentioned is the study of interpretation by domestic scholars. In the early days, Chinese scholars began to study interpretive theory. Xu Jun, a well-known translation expert in our country, conducted research on interpretive theory in 1998. He mentioned in his article that he reviewed and studied the &amp;quot;interpretive&amp;quot; theory created by Professor Celeskovich; In 1997, the well-known translation expert Yuan Xiaoyi published an article on the concept of faithfulness called the interpretive theory, in which she discussed a problem of faithfulness that had been debated for thousands of years, and combining interpretive theory to explore this issue. With the development of the times, Chinese scholars’ enthusiasm for the study of interpretive theory has not diminished. For example, some scholars published an interpretive strategy study called Xi Jinping’s opening speech from the perspective of interpretive theory this year. The author here connects the interpretation theory with the times and integrates with practical activities. Based on the oral translation of President Xi Jinping’s speech, and guided by the theory of interpretation, the five translation strategies that translators commonly use literal translation, free translation, information simplification, antagonism and information supplementation are analyzed and summarized. At the same time, some scholars are still interested in the rise and development of interpretive theory and continue to study the development process of interpretive theory. In 2020, Su Yuanyuan introduced the concept of interpretive and the rise and development of interpretive theory in her published articles, and discussed the significance and challenges of interpretive theory for the implementation of curriculum policy in our country. Looking at the articles published by domestic scholars on the research of interpretive theory, most of them are studying the role and embodiment of interpretive theory in practice, especially the application in interpretation practice, which has played an important role in the development of my country's translation industry. &lt;br /&gt;
Regarding foreign scholars' research on interpretive theory, many scholars have also emerged. Moreover, foreign scholars' research on interpretive theory will be earlier than domestic research. For example, in 1953, foreign scholar Surindar Suri explained the role of interpretive theory in the communication process in his published article, and carried out research and analysis based on practical examples. In 1969, Jackendoff Ray S. published an article called An Interpretive Theory of Negation, which explained the shortcomings of the interpretive theory. In 1969, Dougherty Ray C. conducted an investigation and research on the lexical level of interpretive theory, combined with specific text examples for analysis. Recently, many scholars have conducted research and analysis on interpretive theory. For example, in 2020, Harari and Michael investigated the relationship between interpretive theory and our thinking.&lt;br /&gt;
It is precisely because of the investigation and research of these scholars at home and abroad that it provides us with a lot of useful information for understanding and studying interpretive theory. Of course, the interpretive theory itself has also been developed in the process of their research and investigation. The development of theory will of course also promote the development of practice, continue to promote the development of interpretation and translation practice, and make a significant contribution to my country's translation industry.&lt;br /&gt;
==='''2.2 The Research on Interpretation under the Guide of Interpretive Theory'''===&lt;br /&gt;
Investigation and research on the application of interpretive theory in practice, the main direction is interpreting. In the aspect of interpretation, interpretive theory has made important contributions to its development. That is to say, the practical significance of interpretive theory is very large, which can guide people's life practice and assist translators in their work. &lt;br /&gt;
With the globalization of the world economy, the exchanges between countries continue to deepen and exchanges become more frequent. Therefore, the industry of translation has become more important, and interpretation plays an important role in the process of communication between countries. Therefore, both domestic and foreign translators have conducted research and investigation on it.&lt;br /&gt;
First of all, I have made a summary of some research investigations by domestic scholars. The research of Chinese scholars on interpretive theory in accompanying translation mainly combines various interpretation practices to analyze and research. In 2016, Zhang Yu accompanied the Canadian delegation to the practice report and analyzed the interpretive theory in this interpretation practice. Based on the author’s practice of accompanying interpretation and the understanding of interpretation theory, the scholar discussed and analyzed the problems encountered by the interpreter during the task. Through this translation practice, the translator also summed up the guiding role of the interpretive theory that interpretation should pay attention to the transmission of meaning for interpreters. In 2018, Yang Lijun discussed the application of interpretive theory in escort interpreting from the interpretation practice of the 2017 Asia Media Summit. During the summit, the scholar served as a liaison and accompanying interpreter and successfully completed the task of accompanying interpreter. This year is 2020, Liu Guifang takes China's &amp;quot;One Belt One Road&amp;quot; as the background, the rapid development of the world economy, the increasingly close relations between China and Russia, and the increasingly frequent trade exchanges. Therefore, the increasing demand for escort interpreting makes the quality of interpreting particularly important. Scholars served as an escort translator at the 12th &amp;quot;Black Technology&amp;quot; Exhibition in Dalian. Their personal experience in the process of practice, guided by interpretive theory, summarized some translation strategies and methods in interpreting work.&lt;br /&gt;
On the practical research on the theory of interpretation abroad. In 1992, JD Ward and FJ Rink conducted research and investigation on interpretive theory in the formulation of public policy. In 2011, SE Porter and JC Robinson introduced interpretive theory in their monograph. Foreign researchers started their research on interpretive theory earlier, with a wide range of research and in-depth research.&lt;br /&gt;
The research on interpretive theory by domestic and foreign scholars has greatly promoted the development of translation, especially the development of interpretation.&lt;br /&gt;
==='''3.Translation Strategies based on Interpretive Theory'''===&lt;br /&gt;
Interpretive theory mainly includes three stages in the application process, namely, meaning understanding, cognitive supplementation, and separation from the source language. These three stages are called the triangle model of interpretation by the famous translator Celeskovich. We can understand from the picture below. There are three line segments in the figure. The realization from the top of the triangle to language A means that the translator captures the meaning and digests and understands it. The line segment from the top to language B represents the translator to express it in another language. These two lines reflect the process of translation: one is from linguistic signs to thinking, and the other is linguistic signs from thinking to target language. Then, the dashed line from language A to language B indicates that direct conversion of language symbols from the original language to the target language is impossible, which may violate the meaning of the original language.&lt;br /&gt;
Based on interpretive theory, a variety of translation skills have appeared in translation. Here we mainly discuss some translation skills of interpreting. The concept of interpreting is the object, and various examples are combined for analysis.&lt;br /&gt;
==='''3.1 Free Translation'''===&lt;br /&gt;
The interpretive school believes that the pursuit of translation is not the equivalence of language forms, but the equivalence of meaning between the original text and the translated text, which enables it to achieve the purpose of communication in this way. Free translation refers to getting rid of the shackles of the source language form in the translation process and reorganizing the structure of the language to achieve the purpose of conveying meaning. Free translation does not mean changing the connotation of the source text, but after understanding the basic meaning of the source text in the translation process, it is expressed in the language used to the target language to make the language clearer and easier to understand. In leaders’ speeches, some culturally loaded words are often involved, such as idioms, colloquialisms, poems, etc., which are difficult for the target language audience to understand. Therefore, in this case, we adopt the translation strategy of free translation.&lt;br /&gt;
 例1：明年是中国和东盟建立对话关系30周年，双方友好合作即将步入“而立之年”，双方各自的发展也处于承前启后的关键时期。&lt;br /&gt;
 Translation: Next year will mark the 30th anniversary of China-ASEAN dialogue relations. Our friendship and cooperation, which is fully established, will move toward greater maturity as we both enter an important period of development.&lt;br /&gt;
&amp;quot;而立之年&amp;quot; is a Chinese idiom, which means that a person can stand on his own at the age of thirty. The source of this idiom is the Spring and Autumn Period. After Confucius was excluded from the political arena, when talking to his disciples about his own experience, he said that he had been determined since he was 30, and he has not been able to launch a benevolent government until he is almost 70. Here, the translator directly expresses the thirty in the first year, which is beneficial for the listener of the target language to understand.&lt;br /&gt;
 例2：论坛是中非共同的宝贵财富，我们要与时俱进，擦亮这块“金子招牌”。&lt;br /&gt;
 Translation: FOCAC is a valuable asset for China and Africa.&lt;br /&gt;
&amp;quot;金字招牌&amp;quot; is a Chinese idiom, which means a signboard in which stores used gold foil to show that they had strong funds. And now it is a name or title that can be shown off as a metaphor for being superior. It is also a good analogy of reputation. Here it mainly refers to a precious name, and the translation of asset is very appropriate and easy to understand.&lt;br /&gt;
==='''3.2 Addition of Message'''===&lt;br /&gt;
Information supplementation refers to the method of adding words to make the meaning clearer and more in line with the expression habits of the target language listener. Information supplements can be divided into adding words needed for grammatical structure, supplementing and omitted components, and components contained in the original text. Due to the differences in different cultures, some expressions will also be different in different languages, so the translator adopts appropriate supplementary methods to achieve the goal of meaning equivalence.&lt;br /&gt;
 例1：在涉及彼此的核心利益和重大关切问题上相互坚定支持，始终高举多边主义和公平正义的旗帜，提高发展中国家的国际地位和影响力，维护了发展中国家的整体利益。&lt;br /&gt;
 Translation: We have firmly supported each other on issues concerning core interests and major concerns. We have stood together in upholding the banner of multilateralism, fairness and justice. Together, we have elevated the international standing and influence of developing countries and safeguarded the overall interests of the developing world.&lt;br /&gt;
In this translation, we can clearly see the difference in sentence expression between Chinese and English. Chinese pays more attention to the language of meaning, so it will omit some forms of expression; while English emphasizes the form of language expression, so there has relatively more use of function words in English expression. Through the above translation sentences, we will find that we have added some function words to the sentence structure in the English sentence, and also turned out the personal pronouns omitted from the source text. Through this addition, the logical relationship is clearer and the meaning is easier to understand.&lt;br /&gt;
 例2：自今年4月举行东盟与中日韩（10+3）抗击新冠肺炎疫情领导人特别会议以来，各方积极落实会议各项成果，有利促进地区疫情防控和经济复苏，彰显了10+3作为东亚合作主渠道的重要作用。&lt;br /&gt;
 Translation; In April, we had a Special ASEAN Plus Three(APT) Summit on COVIS-19. Since then, all parties have been actively implementing its outcome, which has bolstered both our response against the virus and economic recovery in the region. Such progress has highlighted APT’s important role as the main channel of East Asian cooperation.&lt;br /&gt;
From the translation of the above example, we can find that when the source text is translated into the target language, the number of words in the target language is almost half that of the source text. There are a lot of words in the target language that have not appeared in the source text, such as relative pronouns and personal pronouns. But through such additions, the logic of the text is more fluent, and the meaning of the text is clearer.&lt;br /&gt;
==='''3.3 Positive and Negative Translation'''===&lt;br /&gt;
As we mentioned before, different countries have different cultural characteristics, and of course there are huge differences in language expression. Here we take the English-Chinese translation as an example to illustrate this translation feature. English and Chinese are both positive and negative. However, because Chinese speakers and English speakers have different ways of thinking and expression habits, the two languages have their own characteristics of expression. In the practice of translation, it involves the conversion of pros and cons, which means that during translation, the sentence that is being said in the original text must be processed into a negative, and vice versa. Therefore, on the basis of understanding the content of the original text and under the guidance of interpretive theory, adopting such a translation strategy can make the semantics clearer to a certain extent, which is more in line with the language expression habits of the target language readers. The following are some typical examples:&lt;br /&gt;
 例1 如果不加强各方的合作来合力战胜疫情，我们就不能够加强公共卫生，不能增强地区对公共卫生突发事件的处理能力。&lt;br /&gt;
 Tranlation: We could enhance public health cooperation and strengthen our region’s preparedness for public emergencies through working together on COVID-19.&lt;br /&gt;
The sentences in the source text are all expressed by the negative &amp;quot;cannot&amp;quot; in Chinese, and after being translated into English, the translator converts the negation into affirmation, which makes multiple repeated negative words in the source text omitted, so it appears clearer and is easy to understand.&lt;br /&gt;
 例2 而不是搞知识封锁，制造甚至扩大科技鸿沟。&lt;br /&gt;
 Translation: The least desirable is for us to stifle the flow of knowledge, or to create or even widen the technology divide among us.&lt;br /&gt;
The source text is a negative sentence containing the negative “cannot&amp;quot; when translated into English. The translator is telling the truth, the translation is &amp;quot;at least&amp;quot;, the form is affirmative, the meaning is negative. This kind of English expression is more authentic, and it also makes the expression diversified, and the English listeners can also be understood.&lt;br /&gt;
==='''Conclusion'''===&lt;br /&gt;
In order to systematically summarize the achievements in the field of international interpreting research, and to provide useful references and references for future interpreting research, so I chose interpretive theory as the research topic of this thesis, trying to make an attempt to the core composition of its theoretical system. Part of the paper has been systematically investigated and researched, and the whole article has been modified to analyze the interpretive theory and its practice in interpretation. It not only introduces the meaning of interpretation theory, but also analyzes its application in interpretation practice. Based on the creation and development of interpretive theory by the predecessors, the development of interpretive theory provided good translation strategies for later translation, especially interpretation, and made important contributions to the development of translation.&lt;br /&gt;
The core of interpretive theory emphasizes the separation of the shell of the source language and the communicative function of the language. From this we can see that in the process of interpreting, the translator cannot be attached to the form of the language, but should pay more attention to the language it carries. Only in this way can the translator deliver the information to the listener in the target language as much as possible in the practice of interpretation. Translators should fully understand the meaning of the text in the language and outside the language, quickly get rid of the shackles of language signs, and try to convey the source language accurately and faithfully. In the process of interpreting, especially when the leader speaks, the language of his speech is plain, multi-purpose and interlocked, good at repetition and use of discourse with Chinese characteristics. Translators should use translation strategies flexibly.&lt;br /&gt;
The interpretive school believes that interpreting is a kind of communicative activity whose purpose is to convey meaning, and in order to fully convey the meaning, the translator must analyze, understand and interpret the discourse of the source text during the translation process. In the process of interpretive, the translator needs to supplement the cognition. The supplement of cognition is a process of combining the translator's language knowledge, subject-related knowledge, encyclopedia knowledge and context knowledge.&lt;br /&gt;
The third stage of interpretive theory is the hypothesis of &amp;quot;beyond the shell of the source language&amp;quot;. This hypothesis is the core concept of interpretive theory and has a significant impact on the formation and development of interpretive theory. In fact, the interpretive theory was originally proposed based on the assumption that meaning can be separated from the outer shell of language. But in fact, there were certain problems when the theory was put forward by the initiators. The explanation of the relationship between language shell and meaning of this hypothesis was too simple, and in this hypothesis, both meaning and language form were absolutized. Generally speaking, the meaning may not be 100% out of the language shell in the process of interpreting, and the phenomenon of &amp;quot;out of&amp;quot; is unlikely to occur from beginning to end; the natural language may still be a natural language in the process of processing the source language text by the interpreter. One of the carriers of meaning.&lt;br /&gt;
The triangular model of interpretation theory explains the psychological process of interpretation to a certain extent, shows bold and innovative spirit, and lays the foundation for the cognitive psychological transformation of interpretation research, which has contributed to the formation of the international interpretation research pattern and future development It has a huge and far-reaching impact, and it also brings profound enlightenment to human machine translation research. However, the interpretive school has always rejected the linguistic approach of interpretation in its research work, which is the marginalization of the object of interpretation; in addition, it only focuses on successful interpretation practice, and does not make a systematic and serious analysis of the reasons for the failure of interpretation. Weakened the practical value of the theory and affected its further dissemination and development.&lt;br /&gt;
In this era of international interpreting research talents, thehe brilliance of the interpretive theory has become the past. &amp;quot;As the leader of the past, today we don’t have to expect the interpretation theory of the interpretive school to continue its former glory.&amp;quot; But the interpretive theory has not been outdated. Its high attention to meaning is important to today’s interpretation practice Interpretation teaching still has an important guiding role; the psychological process (information processing) model of interpreting it puts forward has been inherited through the efforts of a new generation of scientific research school! It is enriched and developed. With the progress of cognitive science, its &amp;quot;departure from the source language&amp;quot; The connotation of the “language shell” hypothesis may also become more and more clear and clear. The interpretation scope of the interpretation theory of the interpretive school may continue to expand, and the research methods of the interpretive school will continue to build the interpretation theory for a long time in the future. Make your own unique contribution.&amp;quot;&lt;br /&gt;
===References===&lt;br /&gt;
*Bevir, Mark, Rod AW Rhodes. (2002). Theory and methods in political science 1[J]. &amp;quot;Interpretive theory.&amp;quot;: 1. &lt;br /&gt;
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*Dougherty, Ray C. (1969). &amp;quot;An interpretive theory of pronominal reference.&amp;quot; Foundations of Language: 488-519.&lt;br /&gt;
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*Gong  Longsheng. 龚龙生. (2008). 释意理论对我国口译研究的影响. [The Influence of Interpretation Theory on Interpretation Research in my country]. ''宁夏大学学报(人文社会科学版)'' [The Influence of Interpretation Theory on Interpretation Research in my country](04):155-161+166.&lt;br /&gt;
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*Jackendoff, Ray S. (1969). &amp;quot;An interpretive theory of negation.&amp;quot; Foundations of language: 218-241.&lt;br /&gt;
&lt;br /&gt;
*Kong Shaohui. 孔韶辉. (2009). 综述释意学派翻译理论研究的主要内容. [A summary of the main content of the translation theory research of the paraphrase school]. ''青年文学家'' [Young Literary](02):127.&lt;br /&gt;
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*Lederer  Marianne. 勒代雷. (2001). 释意学派口笔译理论. 刘和平译. [Interpretation Theory of Interpretation and Translation. Translated by Liu Heping]. 北京：中国对外翻译出版公司[Beijing: China International Translation and Publishing Corporation]:45-50.&lt;br /&gt;
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*Liu Yue, Lan Jie. 刘玥、兰杰. (2020). 释意理论视域下习近平进博会开幕式讲话的口译策略研究. [ Research on Interpretation Strategies of Xi Jinping's Opening Ceremony Speech from the Perspective of Interpretation Theory]. ''海外英语'' [Overseas English](15):179-180+211.&lt;br /&gt;
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*Zhang Si. 张思. (2019). 释意理论在口译中的应用. [The Application of Interpretation Theory in Interpretation]. ''北方文学'' [Northern Literature](30):275-277.&lt;br /&gt;
&lt;br /&gt;
='''Theory and Practise'''=&lt;br /&gt;
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==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures	陈佳欣	Chen Jiaxin==&lt;br /&gt;
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==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts''	成于思	Cheng Yusi Student No. 202020080598 ==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
André Lefevere’s Translation History and Culture: A Sourcebook and Liu Miqing’s A Comparative study of Chinese and Western Translation Principles are two books about translation principles and translation theories from the perspective of culture. this paper consists of three parts. In part one, after a brief introduction of Translation History and Culture: A Sourcebook, the paper is about to give an analysis of the excerpt about John Dryden’s three types of translation and the comparison of “translator and author to slave and master” and illustrate them with several reasons. The second part will give an introduction of A Comparative study of Chinese and Western Translation Principles and display scholar’s evaluation of the book. In the third part, the author will make a comparison of these two books to deepen reader’s understanding of them.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
André Lefevere, ''Translation History and Culture: A Sourcebook'', Liu Miqing, ''A Comparative study of Chinese and Western Translation Principles''&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
安德烈·勒菲弗尔的《翻译，历史和文化论集》和刘宓庆的《中西翻译思想对比研究》均是关于翻译思想和翻译理论研究的作品。两本书均从文化视角对翻译思想进行研究。本文第一部分本文将对《翻译，历史和文化论集》进行简要介绍，并节选其中摘录的英国诗人约翰·德莱登的片段进行重点论述，分析其翻译方法和”作者-译者主仆论”，并进行原因说明，以体现《翻译，历史和文化论集》一书的主旨。第二部分将对《中西翻译思想对比研究》进行简述并收集相关学者对此书的看法和评价。在第三部分中，笔者将对上述两本书进行内容和形式上的对比，帮助读者更好地理解这两本书。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
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===II.Analysis of ''Translation, History and Culture: A Sourcebook''===&lt;br /&gt;
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''Translation, History and Culture: A Sourcebook'', edited by American translation theorist and the foremost representative of Translation Studies---André Lefevere in 1992, is a collection of seminal statements of thinking about literary translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. “Lefevere’s later work on translation and culture in many ways represents a bridging point to the ‘cultural turn’.”(Munday 2016,199). As such, Translation, History and Culture: A Sourcebook serves as a good proof of “cultural turn” of translation proposed by Translation Studies. In general editor’s preface of this book, Lefevere and Bassnett displayed their intention to edit this book---to reflect the current development of Translation Studies. They redefined translation as “a rewriting of an original text”. Here, they explained that “rewritings reflect a certain ideology and a poetics and manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.” (lefevere 2003, xi). With reference to these concepts, Lefevere aimed to declare the central function of translation as a shaping force. &lt;br /&gt;
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In preface of the book, Lefevere looked back to the tradition of translation in western Europe, and concluded that the previous discussion of translation was exclusive to language, failing to deal with the complexity of the translation. Therefore, he proposed that the study of translation needs deep exploration for cultural studies. Such idea was envisaged at the backdrop of the stagnancy of linguistics in 1970s and the emergence of Translation Studies in 1976, thus promoting the trend of “cultural turn”. “Cultural turn” was officially termed by Mary Snell-Hornby meaning the move from translation as text to translation as culture and politics in her paper collected in the book Translation, history and culture in 1990, whose publication was valued as the declaration of “cultural turn” of translation studies. If the book ''Translation, History and Culture'' is regarded as the anticipation and elaboration of Lefevere and Bassnett’s thoughts of “cultural turn”, ''Translation, History and Culture: A Sourcebook'', with abundant case studies, is proved to be a good illustration of their thoughts. The collected excerpts are arranged in eight themes, including The Role of Ideology, The Power of Patronage, Poetics, Universe of Discourse, Translation, the Development of Language and Education, The Technique of Translating, Central Texts and Central Cultures and The Longer Statements which is an extension of the former seven themes. Such an exclusive arrangement is intended to highlight the important thinking on translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. &lt;br /&gt;
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I enjoy reading this book because it makes those aloof and remarkable scholars closer to us. After reading their original words, they seem to appear in fresh and narrate their feelings of being translators. I read translator’s inferiority in Dryden’s words and admire Cicero’s courage to assert free translation to defend the privilege of translators. He said that “I decided to take speeches written in Greek by great orators and to translate them freely… I could not only make use of the best expressions in common usage with us, but I could also coin new expressions, analogous to those used in Greek”. (Lefevere 2003, 47) Through reading the scholar’s letters or their original statements, we can review their thoughts on the basis of our own understanding, rather than be crammed with so-called essential yet monotonous principles summarized by others.&lt;br /&gt;
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In this part, I will make an analysis of John Dryden’s three types of translation and his comparison of “author and translator” to “master slave” through the excerpts collected in ''Translation, History and Culture: A Sourcebook''. The translator, as the subject in translation, ought to give the fullest play to his subjective initiatives to produce a good translated work. However, translators are limited by the ideology, the trend of translation theory, cultural background and their position in their time. Therefore, the discussion of Dryden’s views on translator can reflect part of the intention of the book ''Translation, History and Culture: A Sourcebook''.&lt;br /&gt;
Lefevere extracted two statements by Dryden and relatively placed them in Chapter Two---The Power of Patronage, and Chapter Eight---Longer Statements. In chapter eight, Lefevere extracted an excerpt from the preface to Dryden’s translation of Ovid’s Epistles published in 1680. In the preface, Dryden proposed three methods of translation. First, metaphrase, or word-by-word translation. Second, paraphrase, or translation with latitude, where the author is kept in view by the translator, so as never to be lost, but his words are not so strictly followed as his sense; and that too is admitted to be amplified, but not altered. Third, imitation, the translator assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only general hints from the original, to run division on the groundwork, as he pleases. (Lefevere 2003, 102). Dryden argues that when it comes to metaphrase, the translator is encumbered with many difficulties. Not only should he consider the thought of his author, his word, and find out counterpart to each in another language, but he could be confined by the rhyme as well. In Dryden’s vivid simile, translating poem in such a way is like to “dancing on ropes with fettered legs”.(Lefevere 2003, 103). The dancer needs to be cautious of falling down, so it is hard to expect gracefulness of motion of him. “and when we have said the best of it, ‘tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck”. Therefore, if a poem is translated word by word, its sense will be harmed, not to mention its elegance. He defined imitation “to be an endeavor of a later poet to write like one who has written before him, on the same subject; that is, not to translate his words, or to be confined to his sense, but only to set him as a pattern, and to write, as he supposes that author would have done, had he lived in our age, and in our country”.(Lefevere 2003, 103). As such, the translator needn’t to care about the author’s elaborate use of words, or subtle spirit, but to write a poem in the author’s style as if he were alive. The translator can add or diminish as he likes to express his own thoughts, however, Dryden argued that through imitation, the work is no longer to be called the author’s work, but a new produced one, which does express the translator’s talent but spoils the reputation of the dead. Therefore, literal translation and imitation, two extremes, should be avoided. Dryden proposed a mean betwixt them --- to paraphrase, or to translate with latitude. “tis time to look into ourselves, to conform our genius to his, to give his thought either the same turn, if our tongue will bear it, or if not, to vary but the dress, not to alter or destroy the substance”.(Lefevere 2003, 104). It is best to convey the thought of the poet. And the words that the translator adapt need to make confession to the thought if they are unable to bear it, except for the original words that appear literally graceful, which is believed to be kept to maintain the delicacy of the poem. Nevertheless, due to the properties of different languages, Dryden supposed that “he may stretch his chain to such a latitude”.(Lefevere 2003, 105). In conclusion, a translator can be allowed a liberty for the expression, but the sense of an author is to be respected against violation. Dryden’s three types of translation broke the dominance of two types of translation in the tradition of Western translation. Before that, literal translation and free translation were considered to be two methods of translations, thus promoting the history of Western translation. Besides, Dryden pioneered to propose a systematic method of the translation of poetry in the West. Thus, it is widely accepted that his translation principles are enlightening and have exerted influence on translation studies and practice. (Chou Huifang, 2019)&lt;br /&gt;
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However, in chapter Two, in “Dedication” to his translation of the Aeneid, Dryden argued that “We are bound to our author’s sense, though with the latitudes already mentioned”.(Lefevere 2003, 24). He compared a translator to a slave and drudge to express his views on the role of translators. “But slaves we are, and labor in another man’s plantation; we dress the vineyard, but the wine is the owner’s; if the soil be sometimes barren, then we are not thanked, for the proud reader will only say, the poor drudge had done his duty.” (Lefevere 2003, 24). Dryden’s words reflect translator’s inferiority and being belittled at the time of Classicism, which even exerts influence on the later Contemporary Linguistics and Translation Studies.&lt;br /&gt;
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===III. Analysis of ''A Comparative Study of Chinese and Western Translation Principles''===&lt;br /&gt;
&lt;br /&gt;
In this part, I attempt to summarize the content and the value of the book ''A Comparative study of Chinese and Western Translation Principles'', which was published in 2005. The book consists of a FAQ passage substituting the preface and fourteen chapters. It must highlight that Liu Miqing translates “Sixiang” (thought in chinese) into “principle” in this book.  Here follows the titles of each chapters: Chapter One: To Remove the Misunderstandings about Yan Fu’s Principles---A Brief Discussion of Studies of Translation Thoughts; Chapter two: On the Tradition of Chinese Translation; Chapter Three: The Issue of Characteristics of Chinese Translation Theory; Chapter Four: Translatology Calling for New Views on Tradition: Translatology and Mohist; Chapter Five: Translatology Calling for New Views on Tradition: Reflection, Transcendence and Reconstruction; Chapter Six: Translatology Calling for New Views on Translation: &amp;quot; To Enliven Form”; Chapter Seven: Three Origins of the Contemporary Western Translation Theories; Chapter Eight: A Brief Summary of the Contemporary Western Translation Principles and Schools; Chapter Night: On the Limitations of the Contemporary Western Translation Theories. Chapter Ten: Wittgenstein’s View on Meaning and Translation Studies; Chapter Eleven: Translation, A Kind of “Language Game”; Chapter Twelve, An analysis of Benjamin's View on Translation; Chapter Thirteen: On the Originality of Translation. Chapter Fourteen, Translation is the Transcendence of the Original Text. The fourteen chapters can be divided into three parts: to appeal for reconstruction of the tradition of Chinese translation studies; to alert to the blind worship to Western translation studies; to deepen the translation view of functionalist under Wittgenstein's philosophy.&lt;br /&gt;
The first part(chapter one to chapter six) discusses the tradition of Chinese translation studies. Liu Miqing illustrates the development of Chinese translation studies. with reference to Liu, Chinese translation has gone through three leaps. The first stage was to leap from religious translation to scientific translation. The second stage was marked by the translation activities and theories of Yan Fu and Ma Jianzhong( Liu Miqing 2005. 30). The third stage is from 1970s to now, which means the breakthrough has yet to succeed. Then, Liu proposes that Chinese translation theory develops with culture as the principle strategy. (Liu Miqing 2005. 33). He later concludes that there are four features of the tradition of Chinese translation：The cultural strategy; regulation to perfection, translation to perfection; focus on the meaning as well as the aesthetics; increase translators’ awareness of subjectivity and stress their insight. It is owing to the integration of the above features that the Chinese translation principles are formed. The gist of Chinese contemporary translation principles is concluded into four points: to inspire the traditional fighting spirit of Chinese translation, and take rejuvenation of Chinese nation and multicultural development as the cultural strategy of the translation in new era; to emphasize the meaning determination of discourses(or texts) in interlingual communication; to emphasize the optimization of TL representation of the discourses(or texts) in interlingual communication until it reaches the regulation perfection. Next, Liu makes a division and a comparison of the phases of the development of Chinese and Western translation, and pointed out the characteristics of the development of Chinese translation and the reasons that Chinese translation theory has its own characteristics and system. Based on Guoxue or Chinese classics, the Mohism, Liu emphasizes that it is necessary to explore and reassess Chinese national culture. Finally, the author summarizes a theoretical framework of meaning of Chinese translation studies, and suggests that we need to improve the old concept of &amp;quot;emphasis on meaning&amp;quot; and establish a new concept of &amp;quot;emphasis on the meaning in communication&amp;quot; (Liu Miqing 2005.179).The second part is comprised of chapter seven, eight and nine, which respectively illustrates the three origins of contemporary Western translation theories, Western contemporary translation principles and schools, and the limitations of contemporary Western translation theories. Liu argues that the contemporary Western principles are based on utilitarianism, notably the British and American culture.(liu Miqing 2005. 288). However, he also recognized that the 1960s to 1970s witnessed great progress in Western translation theory. Liu divides western contemporary translation theory into several schools: Linguistic School, Functional School, Paraphrase School, Cultural Translation School, Postmodernism and Translation Theory, Psycho-cognitive Psychology School, New Literal Translation Theory. Liu points out that the Western translation focuses on the ends, the form and the effect of communication, the function of the translator, and emphasizes the translated text and the suppression of the alien culture reflected in the original work (Liu Miqing 2005. 288). Finally, Liu points out that western translation theory is “technology-oriented&amp;quot; and he gives his reasons: first, the lack of compass of theories that can guide and support the development of the discipline; second, the ignoring of overall studies; third, the marginal position of meaning; fourth, the current views and remarks on theory are superficial, assertive and rational; fifth, the lack of clarity and depth of the discourse of theory; sixth, the lack of academical criticism and self-criticism. The third part of this book expounds the significance of Wittgenstein's philosophy to translation studies. Based on Wittgenstein's view of “translation and language game”,Liu puts forward that &amp;quot;translation as an interlingual language game&amp;quot; is the basic idea of translation functionalism.&lt;br /&gt;
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===IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts''===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==The development and future trend of translation Theory	张慧	Zhang Hui==&lt;br /&gt;
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==A Cultural Critique of Foreignization and Domestication	吴子佳	Wu Zijia==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
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Domestication foreignization cultural-overloaded words cross-cultural communication.&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
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归化和异化作为两个重要的翻译方法，在许多方面发挥着重要作用，语言是文化的载体，不同文化之间的差异是跨文化交流的重要阻碍，归化异化各有优势，又各有缺点，在翻译时,要求译员不仅要有良好的翻译功底,更需要把握外国文化心理和思想价值观，储备目的国家的文化知识并考虑民族心理接受程度,同时站在保留源语国家文化特色的基础上,实现两国文化的交流。本论文拟讨论归化和异化在不同文化（如旅游文化，美食文化，外交文化、文学作品等）中的应用，在应用中探究分析文化差异，取其精华，去其糟粕，找到更好的翻译方法，实现更好的文化传播与跨文化交流。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
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归化，异化，文化负载词，跨文化交流&lt;br /&gt;
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===''' Introduction of Domestication and Foreignization '''===&lt;br /&gt;
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Domestication and foreignization are two terms coined by Lawrence Venuti based on his investigation of western translation history and theories.They are strategies in translation, regarding the degree to which translators make a text conform to the target culture. Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. &lt;br /&gt;
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Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. These strategies have been debated for hundreds of years, but the first person to formulate them in their modern sense was Lawrence Venuti, who introduced them to the field of translation studies in 1995 with his book The Translator's Invisibility: A History of Translation. Venuti's innovation to the field was his view that the dichotomy between domestication and foreignization was an ideological one; he views foreignization as the ethical choice for translators to make. &lt;br /&gt;
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On the basis of Venuti's theory:A term used by Venuti(1995)to describe the translation strategy in which a transparent,fluent style is adopted in order to minimize the strangeness of the foreign text for TLreaders...it is identified with a policy common in dominant cultures which are aggressively monolingual,unreceptive to the foreign,and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with[target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other. Foreignizing translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original.&lt;br /&gt;
Domestication takes the local culture as the starting point, takes the information receiver as the core, and emphasizes the authenticity and vividness of the translated text. Therefore, the foreign cultural color and language style characteristics in the original text are often modified to confine them within the framework of the local culture.&lt;br /&gt;
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For example:Lead a dog’s life ( 过着牛马一样的生活);Cry up wine and sell vinegar(挂羊头，卖狗肉);Put back the clock (开倒车)Talk house (吹牛Kill the goose that lays the golden eggs(杀鸡取卵); High buildings and large mansions are springing up like mushrooms in Beijing.(在北京，高楼大厦犹如雨后春笋般地涌现。)&lt;br /&gt;
Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.Examples of foreignization:A.used at the phonetic level:ballet—芭蕾舞”                         cigar—雪茄,laser—镭射,jacket—夹克.B. being used at the word level: crocodile tears-鳄鱼的眼泪，an olive branch—橄榄枝，sour grapes—酸葡萄，the cold war—冷战.C.being used at sentence level: Hamlet《哈姆雷特》“You speak like a green girl．Unsifted in such perilous circumstance．（你讲的话完全像是一个不曾经历过这种危险的不懂事的女孩子。）&lt;br /&gt;
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==='''Analysis on Culture Differences in Translation'''===&lt;br /&gt;
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Before we talk about the cultural critique of foreignization and domestication,we should find out the reason why we need the two methods to help with our translation,so the differences between different countries should be mentioned. I think the most difficult part in translation is to give a correct explantion of the sourse culture to the target one in a way that your target reader can accept.But as we all know,sometimes there is not an excat equivalence in sense of both the languages,and I must mention cultural-loaded words when it comes to cultural differences,as words are the most direct form to show a culture,and whether your translation make sense or not depends on how you deal with the cultural-loaded words. &lt;br /&gt;
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Take Chinese and English for example,the word “落汤鸡”can not be translated as “soup chicken”,in literal,as Chinese people live on farming ,”落汤鸡”describes a kind of awkward position of chicken being drenched in the rain,but in England ,a country with developed industry,people no longer raise animals ,so it may be hard for them to understand as they have not seen it before,instead ,the familiar thing they can image is the drowned mouse,as the country has lots of drainers ,which provides perfect conditions for mouse to live ,but those drains can easily get blocked when it rains heavily,after the rain,many drowned mice can be found on the street .Is it the same akward as the”落汤鸡” ？So differen society can give birth to different cultures.&lt;br /&gt;
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What’s more ,the geographic situation can also reflect the cultural differences.For example,England is located in a island,and is sourrded by lots of water,so the words “sea”,”fish”are always used in English idioms,such as“all at sea”,“miss the boat”,“take the helm”,“between the devil and sea”(Zhang le) ,while China boasts many mountains and land ,so the Chinese people may wonder why the English people describe the idiom” 挥土如金”as” spend money like water”if they do not learn about the cultural differences before.In addition ,the use of metaphor can also reflect cultural differences,and metaphor is frequently used in for example,in Chinese culture the image of &amp;quot;dog&amp;quot; is mostly unpleasant, so the metaphor of &amp;quot;dog&amp;quot; has a negative meaning, such as”狗胆包天、狼心狗肺、狐朋狗友、狗仗人势、狗急跳墙、狗头军师、狗血喷头、狗改不了吃屎、狗嘴里吐不出象牙、走狗、哈巴狗等“，&lt;br /&gt;
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On the contrary, the British and American peoples regard dogs as loyal companions and even as family members. Therefore, the English word &amp;quot;dog&amp;quot; as a metaphor has a positive meaning, such as top dog (胜利者) 、lucky dog (幸运儿) 、gay dog (快乐的人) 、old dog (老手) 、Every dog has his day. (凡人皆有得意日),(Qin Zhen)and due to regional, climatic, religious and other factors, different work and life styles have gradually formed in different living groups, which also leads to different social customs and living habits. And different living habits can therefore lead to different metaphor,for example, In China, rice is the main source of nutrition supply, and there are about 68 characters with &amp;quot;rice&amp;quot; as the side of the character. However, in English words, the expression of rice is not so precise and varied. In English, by contrast, people live on bread and potatoes. There are many expressions related to bread and potatoes in English, such as &amp;quot;bread and butter,&amp;quot; &amp;quot;big potato&amp;quot;,”hot potato” and &amp;quot;couch potato.&amp;quot; so while doing our translation,we should learn about the cultural difference under the surface of metaphors and taboos of different nations ,otherwise people may feel that they are offended. &lt;br /&gt;
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===''' Practice of Foreignization and Domestication from Different Perspectives of Culture '''===&lt;br /&gt;
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1. Practice of foreignization and domestication in tourism culture&lt;br /&gt;
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The difference of cultural background is an important factor for tourism , and experiencing foreign culture is the focus of foreign tourists. Therefore, in the process of translation, the cultural information of the original text should be retained to the greatest extent within the range of readers' acceptance. Much of China's tourism brochures depict imagery, stimulates the imagination of visitors, and fill them with longing, so the words are abstract. Therefore, it is important that the translation of tourism materials should take Chinese culture as the orientation, with an emphasis on translation, we should use the method of combination of domestication and foreignization, and usually we will redesign appropriate increase or decrease in cultural points to make the readers to understand the content, choosing to delete, or increase the explanatory translation, or rewrite, highlight the guiding and practical.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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路左有一巨石, 石上原有苏东坡手书“云外流春”四个大字&lt;br /&gt;
To its left is another rock formerly engraved with four big Chinese characters Yun Wai Liu Chun (Beyond clouds and flows spring) written by Su Dongpo (1037—1101) , the most versatile poet of the Northern Song Dynasty (960—1127) . (Xiao Luan,Feng Xuehua2011(02))&lt;br /&gt;
Here we add some introduction of Su Dongpo and explanation of the Chinese words”云外流春”（Yun Wai Liu Chun）to help foreigner better understand the cultural value of the artwork of the poet. Proper addition of background knowledge is necessary for understanding the content of the original text, such as: the time of historical events, the age of celebrities' birth and death, their identities and contributions , the specific location of scenic spots and so on, all of which will help foreign tourists better understand the profound connotation of Chinese traditional culture.&lt;br /&gt;
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Example 2&lt;br /&gt;
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云冈石窟——位于大同西北武周山 (又名云冈) 。创建于公元453 年 (北魏文成帝兴安二年) 。以后献文、孝文诸帝都在这里续建, 历百余年而成。这里有大小洞窟五十多个, 各窟佛像共约五万一千余尊。大者高十七米, 小者短到数寸。雕饰奇伟, 冠于一世。在中国历史、宗教上, 以及东方艺术上, 都具有巨大价值。&lt;br /&gt;
Located in Datong , Shanxi Province , the Yungang Grottos are a complex of over 50 Buddhist grottos enshrining over 51 , 000 Buddhist statues as large as 17 meters tall or as short as a few inches. Built for over a hundred years, they are of great historic and artistic value.&lt;br /&gt;
Here we delete some details about the architecter and the exact location of the grotto,as they are not the main idea that we want to introduce,instead,we leave the data that can show the artistic value of the grotto,in doing so ,we can make our readers more comfortable to real our materials and make our translation more readable.&lt;br /&gt;
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Example 3&lt;br /&gt;
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花港观鱼:Hua Gang Guan Yu (Viewing Fish at Flower Harbor)&lt;br /&gt;
孤山: Gushan (Solitary Hill) &lt;br /&gt;
湖南省(位于长江中下游南部, 东经108度至114度, 北纬24至30度。因地处洞庭湖之南, 所以叫做湖南)。&lt;br /&gt;
Hunan Province lies just south of the middle reaches of the Changjiang (Yangtze) River between108’ and 114’ E longitude and 24’ and 30’ N latitude. As it is also situated south of Lake Dongting, the Province has the name Huan, which means “south of the lake”&lt;br /&gt;
Here we add some explanation to the name of the scenic spots on our literal translation,as sometimes let the reader know why the the spot is called in this way can help them better know about our culture,and in the end enhance mutural understanding of each other.&lt;br /&gt;
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Example 4 &lt;br /&gt;
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Analogy is a method used in tourism translation ,when we are making an analogy,we are actually making a combination of foreignization and domestication,for we are just finding something equivalent in another culture,for example:Suzhou(a beautiful city in Zhejiang province ,China),when it comes to how to describe how beautiful it is,we usually make an analogy to Venice，Italy,then the reader may soon understand; Yinchuan(a city in the Ningxia Hui Autonomous Region)can be compared by Mekka,and I think it is a kind of exoticism.By using an expression that the target readers are familiar with,we can become more close so that we can promote mutual understanding of both sides.&lt;br /&gt;
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Example 5&lt;br /&gt;
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她 (黄河) 奔腾不息, 勇往直前, 忽而惊涛裂岸, 势不可挡, 使群山动容;忽而安如处子, 风平浪静, 波光潋滟, 气象万千。&lt;br /&gt;
It tears and boils along turbulently through the mountains and at some places, flows on quietly with a sedate appearance and glistening ripples.&lt;br /&gt;
The use of antithesis rhetoric and the arrangement of four-character word groups in Chinese shows the magnificent momentum of the Yellow River. The English translation has rewritten the original text, removing those words with subjective emotions, so that it can be intuitive and concise, vivid, and has the same effect as the original text .&lt;br /&gt;
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Example 6&lt;br /&gt;
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四合院——中国传统的院落式住宅之一种。其布局特点是围绕院子, 四边布置堂屋、住房和厨房等。以北京四合院为典型, 通常分前内两院, 两段之间设“垂花门”。&lt;br /&gt;
Quadrangle, one type of Chinese traditional residential housing, has been common: mostly in northernChina. A typical quadrangle features a divided com-pound with square yards surrounded by halls. &lt;br /&gt;
By summarizing, deleting and adding, the translator introduces the siheyuan, a building with the characteristics of northern folk dwellings, which not only achieves the purpose of advertising, but also conforms to the language characteristics of the readers. It should be said that the cultural information of the original text has been appropriately adjusted.&lt;br /&gt;
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2. Practice of Foreignization and Domestication in Food Culture&lt;br /&gt;
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With the development of globalization,Chinese food is gaining huge popularity among foreign people,in order to better promote Chinese food ,we have to make good expression to the origin and the connotation of the food ,so ,both foreignization and domestication are needed.We have to mention food culture if we want to introduce those food with Chinese characteristics.According to the characteristics of the dishes, Chinese cuisine is divided into eight major cuisines, and they are: Cantonese cuisine, Hunan cuisine, Shandong cuisine, Fujian cuisine, Zhejiang cuisine, Sichuan cuisine, Anhui cuisine and Jiangsu cuisine. Each cuisine has its own unique flavor .Since China covers a wide range of land,different regions have different eating habbits and cooking methods according to the diversity of geographic locations. There are 36 kinds of cooking methods include frying, frying, cooking, frying, braising and so on. For example,people living in Sichuan province like to eat spicy food and to add some condiment such as pepper,gordic because they live in a basin and in doing so ,they can clear damp and stay dry.People live in Guangzhou,however,prefer seafood and they usually cook their meals by stewing ,which can retain the nutrition of food as much as possible. Suzhou cuisine is fresh, strong but not greasy; Zhejiang cuisine is delicious, tender and smooth, crisp , soft and refreshing.&lt;br /&gt;
Based on the food culture above,special methods of naming have formed.&lt;br /&gt;
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Example 7&lt;br /&gt;
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番茄牛腩(tomato and beef brisket)&lt;br /&gt;
This translation consists of main ingredient and ingredient.&lt;br /&gt;
砂锅面(casserole noodles)&lt;br /&gt;
This translation consists of utensils and ingredients.&lt;br /&gt;
淮南牛肉汤, 东坡肉(Huainan beef soup, Dongpo pork)&lt;br /&gt;
This translation consists of the name of people and place as well as the main ingredient,and sometimes we need to give a more detailed introduction of the people or place to make our translation more readable.&lt;br /&gt;
炒酸菜, 手抓饼(sauerkraut, shredded cake)&lt;br /&gt;
This translation consists of the cooking method or eating method and ingredients.&lt;br /&gt;
Above are basic translations as they do not involve much culture ,so we always use literal translation with some explanations .&lt;br /&gt;
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Example 8&lt;br /&gt;
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蚂蚁上树 (肉末粉条): Ants on a tree (minced pork)&lt;br /&gt;
This translation shows the characteristics of the food as minced pork just the ant on the tree,and it gives a vivid introduction of Chinese food and can leave a deep impression to foreigner.&lt;br /&gt;
霸王别姬 (甲鱼炖鸡) :Farewell my Concubine (turtle stewed chicken)&lt;br /&gt;
This translation is named after historical allusions.&lt;br /&gt;
驴打滚 (打糕) :Donkey roll (beating cake)&lt;br /&gt;
This translation is named according to the production process metaphor. &lt;br /&gt;
佛跳墙 (福寿全) : Buddha jumps over the wall (Fu, Shou, Quan(get both luck and longevity)).&lt;br /&gt;
This translation is named after the meaning of good.if we do not give a explanation to the name ,people may wonder what dose the Buddha mean here and if that really means a man jump over the wall,so in order not cause the misunderstanding ,we need to make right expression of the name of the dish.&lt;br /&gt;
&lt;br /&gt;
Above are some translations that contain many cultural elements,and when doing the translation ,we should use a combination of foreignization and domestication,that requires us know what is the food really made of,and the meaning of the food behind the name.&lt;br /&gt;
&lt;br /&gt;
Example 9&lt;br /&gt;
&lt;br /&gt;
“叫花鸡jiaohuaji” or“jiaohua chicken”is a famous dish in Jiangsu province of China. If translated as' chicken cooked by a beggar ', westerners must not understand its meaning. That's why the naturalized translation of jiaohua Chicken is called &amp;quot;Baked Chicken&amp;quot;, which makes it plain. The following ways of translating The names of Chinese dishes make good use of the naturalized translation method. The dishes that begin with the raw materials used in cooking are divided into one category. In English translation, prepositions or conjunctions should be added between the dishes. For example,蛋黄凉瓜 is translated as &amp;quot;Bitter Melon with Egg yolk”. &lt;br /&gt;
&lt;br /&gt;
If we translate the dish “红烧狮子头”译为“Fried Lion’s Head” (炸狮子的头) , the foreigners may feel scared when they see the menu!so here we use foreignization to translate it as “Braise Pork Ball in Brown Sauce”.&lt;br /&gt;
Translation of the Chinese dish name into English adjectives indicating the taste and flavor of the food, such as crispy, tender, spiced, food that begins with an adjective indicating the shape or state of the food is divided into one category. The most prominent feature of these dishes is often the taste or the shape of the food, for example,“珊瑚笋尖”is translated as“Sweet and Sour Bamboo Shoots”;“爽口西芹”is translated as “Crispy Celery” at the same time “土豆泥”is translated as “Mashed Potato”. These are some examples of domestication.(Liu Xiaocen)&lt;br /&gt;
&lt;br /&gt;
Example 10&lt;br /&gt;
&lt;br /&gt;
Some foods are usually translated in the form of &amp;quot;Hanyu Pinyin + English notes&amp;quot; in order to retain certain characteristics.&lt;br /&gt;
For example:“油条”in this way can be translated into “Youtiao, Deep-Fried Dough Sticks”;“豆汁儿”can be translated as“Douzhir, Fermented Bean Drink”. 饺子:Dumpling、汤圆:Dumpling in Soup、烧卖:Steamed Dumpling with the Though Gathered at the Top;小圆面包:Bun、馒头:Steamed Bun、包子:Steamed Stuffed Bun&lt;br /&gt;
There are also some food translations with pure Chinese characteristics that have been collected in major foreign English dictionaries.Most of these dishes are transliterated into English based on cantonese pronunciation, with strong regional characteristics. For example, &amp;quot;豆腐&amp;quot; translates as &amp;quot;Toufu&amp;quot;; &amp;quot;馄饨&amp;quot; translates as &amp;quot;Wonton&amp;quot;. The translation of四一丸子:&amp;quot;Four Happy Meatballs&amp;quot; aims to make foreign friends feel the happy and festive atmosphere expressed in the dish name，so we can take the method of  literal translation with explanation and the result will be like “Four—Joy Meat Balls, Meat balls braised with brown sauce”,which is more accecptable for the foreigner.These are some examples of foreignization&lt;br /&gt;
&lt;br /&gt;
3. Practice of Foreignization and Domestication in Diplomacy&lt;br /&gt;
&lt;br /&gt;
Since the 18th national people’s congress,the global situation has changed a lot ,in order to improve the influence and right of speak,the diplomatic skills and contains should change accordingly,the new philosophy and ideas put up by our secretary-general Xi provide strong support for our diplomatic speaking,which shows the attitude of Chinese characteristic(Fan Wuqiu2020),and when the spokesmen are talking about some issues about China and other countries,they usually use some Chinese classics which can not only show our complaint politely but also promote the Chinese culture.So we should pay more attention to the translation of these words,especially in diplomacy,as the spokesman represents the whole country,any mistake may raise as a direct cause of diplomatic accident,and foreignization and domestication are quite important in this case.&lt;br /&gt;
&lt;br /&gt;
Example 11&lt;br /&gt;
 &lt;br /&gt;
我们反对的是个别国家政客出于国内政治原因对中国进行有罪推定式的“调查”，反对利用疫情搞政治操弄。&lt;br /&gt;
What we oppose is the so-called investigation chanted by politicians in a few countries out of domestic political calculations based on the presumption of guilt.What we oppse if political maneuvers of the pandemic,which run counter the original mission of scientific research and disrupt international response.&lt;br /&gt;
In this translation ,we use two sentences with same form to show our standpoint,and the word “so-called”,”enchanted”are like a kind of foreignization,which illustrate what we want to say precisely.&lt;br /&gt;
&lt;br /&gt;
Example 12&lt;br /&gt;
&lt;br /&gt;
“投我以木桃，报之以琼瑶”，这是中华民族传统美德。（2020-2-21&amp;amp;3-18）&lt;br /&gt;
To quote a line from the Book of Songs,”You throw a peach to me,and I give you a white jade for friendship.It is china’traditional virtue to repay goodwill with greater kindness.&lt;br /&gt;
This is a line from the Chinese classic the Book of Songs,and it is used by our spokesman to show our gratitude for countries that help us to fight against covid-19,as “琼瑶qiongyao”is a word with Chinese characteristic, and it means white jade,so when we are translating,instead of “qiongyao”we should explain its real material,otherwise people may misunderstand it as the famous novelist in china who has the same name.&lt;br /&gt;
&lt;br /&gt;
Example 13&lt;br /&gt;
&lt;br /&gt;
耿爽表示：“当前中加关系遭遇了严重困难，责任完全在加方。加方很清楚当前中加关系的症结。有理不在声高，公道自在人心。&lt;br /&gt;
&amp;quot;Lately China-Canada relations have encountered serious difficulties. The responsibility lies completely with the Canadian side. Canada knows the root cause clearly. Loudness is not necessarily persuasive and people can tell right from wrong.&lt;br /&gt;
This is a kind of free translation,and if we just translate it word for word,it won’t make sense.&lt;br /&gt;
&lt;br /&gt;
Example 14&lt;br /&gt;
&lt;br /&gt;
“滴水之恩当以涌泉相报”是中华民族的优良传统。我们将铭记这份友情和帮助，继续落实好共建“一带一路”和中非合作论坛北京峰会成果，向那些卫生系统较弱国家提供力所能及的支持，帮助他们增强疫情防控能力，维护地区和全球的公共卫生安全。 &lt;br /&gt;
&amp;quot;Receiving drips of water when in need, and I shall return the kindness with a spring.&amp;quot; Reciprocating an act of kindness is our nation's fine tradition. We will remember the friendship and assistance we received, continue to implement the FOCAC Beijing Summit outcomes and act on the vision of building a community with a shared future, support those countries with weaker health systems as much we can to help them defeat the virus, and safeguard regional and global public health security.&lt;br /&gt;
This translation we find the exact equivalence of both Chinese and English,so people in both side can understand each other so that we can have a better communication and forge a closer friendship. &lt;br /&gt;
&lt;br /&gt;
Example 15&lt;br /&gt;
&lt;br /&gt;
我也希望包括BBC在内的媒体，以后说到人权问题时，不应只把摄像头对准中国“鸡蛋里挑骨头”，而应该把视野放宽一点，对在一些西方国家发生的侵犯人权行为也加大报道力度，而不是熟视无睹、视而不见、保持沉默或有选择性地失声。&lt;br /&gt;
If the BBC is not biased, it should also condemn the brutal crimes committed by some Australian soldiers in Afghanistan. This is what a truly just, objective, conscientious and socially responsible media outlet should do. I also hope that the media, including BBC, should not only zoom in their lenses on human rights issues in China to find quarrel in a straw, but also broaden their horizons to human rights violations committed in some western countries, instead of turning a blind eye to them or keeping silent on some of the violations, if not all of them.&lt;br /&gt;
&lt;br /&gt;
In this speaking,“鸡蛋里挑骨头”was translated as“find quarrel in a straw”.straw,in Chinese,refers to稻草、吸管，and something worthless.”Find quarrel in a straw”means bothering to find something in something worthless.which is equivalent with the Chinese meaning of “鸡蛋里挑骨头”.&lt;br /&gt;
&lt;br /&gt;
===''' Conclusion '''===&lt;br /&gt;
&lt;br /&gt;
Domestication and foreignization have their own advantages and disadvantages. Therefore, in translation practice, we should combine the advantages of the two strategies and avoid the disadvantages, so that there is room for the common development of the two strategies. Mastering the culture of two sides may be the precondition of right use of domestication and foreignization, which leads to better cross-cultural communication.Therefore, in the actual translation process, domestication and foreignization should complement each other and have complementary ,dialectical unity and relationship.&lt;br /&gt;
&lt;br /&gt;
===''' reference '''===&lt;br /&gt;
&lt;br /&gt;
* Zhang Le. 张乐.(2017). 浅谈文化负载词的隐喻意义.[On the Metaphorical Meaning of Culture-loaded Words].” 科教导刊(中旬刊)” [Journal of Science and Education Guide (Mid-ten-day issue)] (06):37-38.&lt;br /&gt;
* Qin Zhen. 秦蓁.(2001). 浅谈汉英语义的文化差异.[On the Cultural Differences between Chinese and English Semantics].” 唐山师范学院学报” [Journal of Tangshan Normal University] (06):19-21.&lt;br /&gt;
* Xiao Luan, Feng Xuehua. 肖鸾,冯学华.(2011). 浅析归化和异化及其在旅游资料翻译中的实践.[ A Brief Analysis of Domestication and foreignization and their practice in the translation of tourism Materials ]” 郧阳师范高等专科学校学报”[Journal of Yunyang Normal College] (02):65-68.&lt;br /&gt;
* Liu Xiaocen. 刘晓岑.(2018). 归化和异化在中国菜名英译中的应用分析.[Application Analysis of Domestication and Foreignization in English Translation of Chinese Cuisine Names]” 海外英语” [Overseas English] (04):99-100+105.&lt;br /&gt;
* Fan Wuqiu. 范武邱.(2020) .十八大”以来我国外交部发言人话语新风格及翻译策略探析. [An Analysis on the New Style and Translation Strategies of Chinese Foreign Ministry Spokesmen's Discourse since the 18th National Congress of the CPC]. “翻译协会年会报告”Annual Report of the Translation Society.&lt;br /&gt;
* 外交部新闻发言稿（2020）Foreign Ministry Press Statement (2020)&lt;br /&gt;
&lt;br /&gt;
='''Contemporary Translation Studies'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==A Study On the Influence of Linguistics on the Construction of Translatology	孔祥慧	Kong Xianghui==&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
Translatology is an interdisciplinary study of translation. And as one of the disciplines most closely related to translation studies, linguistics is the main discipline that exerts a profound influence the construction of translatology.This paper mainly discusses the influence of linguistics on the construction of translation studies from three aspects, including the contributions of early linguists to translation, the influence of linguistic theories on translation studies after the independence of translatology, and the referential value of the construction experience of linguistics to translation studies. It is found that linguistics has made a great contribution to the construction and theoretical development of translatology, but translation researchers should take a critical view of linguistics and correctly use linguistic theories instead of copying them completely .&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===：translatology;linguistic;discipline construction&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
 翻译学是一门研究翻译的科学，有着明显跨学科研究的特点。语言学作为与翻译学联系最为紧密的学科之一，是翻译理论发展历程中所依赖和借鉴的主要学科。本文主要从三个方面研究语言学对于翻译学构建的影响，包括早期语言学家对于翻译问题的贡献，翻译学独立之后语言学理论对于翻译研究的影响，以及语言学学科构建经验对于翻译学的借鉴意义。研究发现，语言学为翻译学构建和理论发展作出了巨大的贡献，但是翻译学研究者要带着批判性眼光看待语言学，进行翻译研究时要正确借鉴语言学理论而不是全盘照搬。&lt;br /&gt;
&lt;br /&gt;
===关键词===：翻译学；语言学；学科构建&lt;br /&gt;
&lt;br /&gt;
==='''1.Introduction'''===&lt;br /&gt;
Linguistic is a study of language, while translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. Therefore, there are numerous links between linguistics and translation, and the development of linguistic theory will inevitably affect the development of translation. Translatology is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization. As an interdiscipline, translatology borrows much from the various fields of study that support translation including comparative literature, computer science, history, linguistics, philology, philosophy, semiotics, and terminology. &lt;br /&gt;
&lt;br /&gt;
For a long time, translatology was a branch of linguistics before it became an independent discipline, because translation is a linguistic phenomenon. But later, with the development of the theory, it began to emerge on the academic stage as an independent subject, and more and more scholars began to devote themselves to the construction of translation theory. In the course of the construction of translation studies, many linguists and linguistic theories have made indelible contributions to the development of translatology. Although translation studies cannot be replaced by general linguistic studies, there is a close relationship between them. Language science can promote the development of translation science. This paper will analyze the influence of linguistics on the construction of translatology from multiple perspectives and explore the significance of linguistic research on the construction of translatology.&lt;br /&gt;
&lt;br /&gt;
This thesis will be carried out in five parts. The first chapter is the introduction to the background, significance, and the outline of the thesis. The second chapter presents a brief literature review of the studies on the construction of translatology in abroad and China. The third chapter elaborates the differences between translation and translatology, and demonstrates three development stages of translation studies in general. The fourth chapter is the main focus in which the author analyzes the influences of linguistic on translatology in three aspects . In chapter five, the author will make a conclusion on the research and propose some suggestions of this study.&lt;br /&gt;
&lt;br /&gt;
==='''2.Literature review '''===&lt;br /&gt;
This chapter will briefly review the research of the construction of Translatology home and abroad. According to the development history, the author will briefly introduce the main theories and representative figures of Translatology. &lt;br /&gt;
&lt;br /&gt;
'''2.1Studies on the construction of translatology aboard'''&lt;br /&gt;
&lt;br /&gt;
In the book On Linguistic Aspects of Translation published in 1959, Norman Jacobson, from the perspective of semiotics, interpreted translation as a process of recoding two equivalent information in two different linguistic symbols and divided translation into three types: Intralingual Translation, Interlingual Translation and Intersemiotic Translation.&lt;br /&gt;
Eugene Nida（1947）advocated studying translation from the perspective of linguistics, which received positive responses from a large number of scholars. In his book Toward the Science of Translating, which was published in 1964, Nida summarized the history of Western translation and proposed the principle of translation equivalence. He supported the application of modern linguistic methods to the scientific analysis of translation and proposed that translation was a science.&lt;br /&gt;
J.C. Catford in his book A Linguistic Theory of Translation (1965), defined translation as the process of replacing textual material in another language with textual material of one equivalent language, and took seeking equivalent elements in the language as the central issue of translation. He also discussed the translation principles based on the differences between the source language and the target language in terms of language structure.&lt;br /&gt;
Holmes published The Name and Nature of Translation Studies at The Third  International Conference on Applied Linguistics in 1972, which was &amp;quot;widely regarded as the founding declaration of the discipline of translation studies&amp;quot;. He proposed the name of the discipline of translation, set the research scope of translation studies, and described the structure of the discipline. Holmes advocated that translation should be divided into three branches: descriptive translation , theoretical translation and applied translation. The proposal of this framework directly promoted the construction of translation studies.&lt;br /&gt;
In 1982, Wolfram Wilss published the Science of Translation: Problems and Methods, clearly stating that translation is a science. Wilss studied translation from many aspects, focusing on the process of translation, and discussed the relationship between translation and linguistics. Wilss used the theory and method of modern linguistics to establish a relatively systematic translation system by summarizing and concluding the translation practice.&lt;br /&gt;
Newmark is also a representative figure in the field of translation. In his book Exploration of Translation (1981), he proposed the concepts of communicative translation and semantic translation. He believed that text should be classified according to different contents and styles, and different translation methods should be adopted according to the functions of different text types.&lt;br /&gt;
Hatim &amp;amp; Mason, whose representative work is Discourse and the Translator (1990) that is the first to study translation with pragmatics abroad. The main idea is that translation is a dynamic communication process, with translators standing in the center of the process, acting as mediators between authors and readers.&lt;br /&gt;
Christiane Nord, a leading figure in the German school of Functional Translation, applied the theory of functional linguistics to translation studies (1997). Nord emphasized the need for interdisciplinary studies between translation and linguistics, philosophy, sociology, and computing. She believes that the interdisciplinary study of translation is the inevitable trend of translation studies.&lt;br /&gt;
Mona Baker used sociolinguistic theories to study translation in her research. She believed that many social problems are caused by language, so it is necessary to use modern linguistic theories to construct an analytical model for translation studies. In 2006, she published Translation and Conflict: A Narrative Account, which focused on translation and conflict, and used narrative theory to translate and Interpret. She also emphasized the importance of corpus-based translation studies.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Studies on the construction of translatology at home'''&lt;br /&gt;
&lt;br /&gt;
In the middle of the 20th century, the voice of constructing translation studies began to appear in China. In the following decades, the construction of translatology  in China made great progress.&lt;br /&gt;
In 1951, Dong Qius, a famous Chinese translator, published his article On the Construction of Translation Theory. He put forward three suggestions on the construction of translation theory that were correct scientific method, extensive investigation and in-depth study when conducting translation study. Dong also proposed the two major books will be written in later decades in China: The History of Chinese Translation and The Study of Chinese Translation. The publication of this article initiated the construction of translation studies in China and inspired a large number of later scholars. At the same time, his theoretical framework for the subject of translation is not later than that of Europe.&lt;br /&gt;
In 1987, Tan Zaixi clearly put forward the view that &amp;quot;translation studies are an independent subject&amp;quot; and stressed that we must establish translation studies and correctly understand the relationship between translation studies and other subjects, especially linguistics. In the same year, Tan Zaixi and Eugene A.Nida, a famous foreign translation theorist, jointly published on Approaches to Translation Studies. In this paper, Tan mainly distinguished two concepts of &amp;quot;translation&amp;quot; and &amp;quot;translatology&amp;quot;. At the same time, five basic approaches to translation studies were proposed. With the help of different research approaches, the main goal of translation studies was to establish a theoretical model with wide application scope and high efficiency. Tan's series of papers published in the 1980s had a great impact on the discipline construction of Chinese translation studies. They arouse translators' awareness of the subject of translation studies.&lt;br /&gt;
In the thesis An Overview of Western Translation Theory (1989), Liu Miqing briefly described his theoretical system of translation studies on the basis of his comments on Western translation theories. Liu believed that western translation studies could be divided into four periods. At the same time, he proposed that the framework of translation studies, as an open and comprehensive discipline, could be divided into two structural systems: internal system and external system. In another article, Liu put forward the basic model of Chinese translation theory (1989). Chinese translation theory must emphasize description, meaning and function. To establish a semantic-functional model of description, his idea was inspired by linguistics. His most significant contribution to the discipline of translation studies was his book Modern Translation Theories（1990）, which brought the study of translation studies in China to a peak.&lt;br /&gt;
In 1995, Liu Zhongde published Views on the Establishment of Translation Studies, in which he put forward a concrete idea based on the existing translation studies. The idea is that China should publish a series of translation studies with Chinese characteristics before the year 2000. The central book is Chinese Translation Studies, including &amp;quot;The History of Translation in China&amp;quot;. This set of translation studies could guide the compilation of college translation textbooks and the study of translation theories and skills.&lt;br /&gt;
At the beginning of the 21st century, more and more Chinese scholars began to study the construction of translation studies from the perspective of linguistic theory. Zhang Meifang and Huang Guowen are the leading figures in this field. Zhang Meifang conducted translation studies from the perspective of language function in 2005, while Huang Guowen explored the English translation of ancient poems from the perspective of systemic-functional linguistics in 2006. They affirmed the significance of discourse linguistics for translation studies and explored the translation analysis methods of discourse linguistics.&lt;br /&gt;
Lv Jun first discussed the philosophical basis of translation studies from three aspects in his article. Starting from the philosophical basis of critical philology, structuralist linguistic translation and deconstruction translation, he pointed out that translation studies should be based on general pragmatics (2002). Subsequently, Lu published Constructing The Linguistic Basis of Translation Studies (2004), in which he pointed out that neither structuralist linguistics nor meta-linguistics were suitable for the linguistic basis of translation studies, and only taking speech act theory as the linguistic basis could reflect the essence of translation and show the characteristics of translation activities. This series of studies by Lv Jun have provided a new way of thinking for the study of the construction of translation studies and emphasized the transformation from structuralist linguistics to pragmatics. Li Zhenguo (2017) made a comparison between traditional linguistic methods and discourse linguistic methods, and drew similarities and differences between them, as well as their impact on translation studies.&lt;br /&gt;
Yi Jing published his doctoral thesis On The Construction of Translation Studies In 2009, which systematically and objectively sorted out the construction of translation studies. Kong Xiangli's thesis On The Construction of Translation Studies in China in 2009 gave a comprehensive overview of the construction of translation studies in China. These doctoral thesis are of great reference value for translation studies.&lt;br /&gt;
Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. In A Study on Linguistic Translation (2008), Zhang Boran affirmed the contribution of modern linguistics to the development of theoretical research on translation. Yi Jing (2012) also believed that the study of translation theories can be systematized, scientific and objectified, largely due to the development of linguistics. Zhao Wenting summarized the theoretical research on translation of Western linguistic schools in 2016. Zhang concluded that linguistic research on translation has gone through three main stages, all of which have made outstanding contributions to the development of translation studies. Zou Bing and Mu Lei (2020) focused on the relationship between linguistics and translation studies, analyzing the contributions of early and contemporary linguistic approaches to translation studies. And they also emphasized on the multiple paths of contemporary linguistic approaches. They believed that translators should pay close attention to the new development of linguistic research methods and try to apply them to the study of translation.&lt;br /&gt;
In recent years, translation studies have developed rapidly. With the rise of cognitive linguistics and corpus linguistics, the research of translatology also has appeared the trend of multimodal development. Wang Yin in Translation View in Cognitive Linguistics proposed that reality precedes cognition and cognition precedes language. Language is the product of reality and cognition, so is translation. Experience and cognition precede translation, and translation is also the result of experience and cognition. Later, many scholars have studied the relationship between cognitive linguistics and translation. Wen Jing (2012) proposed the theory of cognitive linguistics to provide a new perspective for translation studies. Fan Xiangtao and Lu Bixiao (2019) have combed through Chinese and Western studies and found that western cognitive translation studies have been constantly innovating in terms of concepts and methods. In contrast, domestic research on cognitive translation is relatively backward and still in the evaluation stage, and there is still a great space for future research on cognitive translation.&lt;br /&gt;
Liao Qiyi proposed in Corpus and Translation Studies (2000) that the development of corpus linguistics has exerted great influence on language studies and translation studies closely related to language studies. He discussed the positive significance of the corpus related to translation teaching and translation theory. Li Yan (2020) reviewed the corpus-based translation studies in China from 1999 to 2018 and summarized the development characteristics and deficiencies. She proposed that we should not only learn from the research results of foreign corpus, but also develop corpus translation research with Chinese characteristics.&lt;br /&gt;
From the above literature review, it can be seen that since the last century, from the emergence of the consciousness of translation studies construction to the realization of the independence of translation studies, translation studies have developed rapidly under the joint efforts of numerous linguists and translators. In recent years, translation studies have shown a trend of interdisciplinary and diversified development, and the construction of translation studies has become a focus of current research.&lt;br /&gt;
&lt;br /&gt;
==='''3.The Construction of Translatology '''===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author firstly makes a distinction between translation and translation studies, then introduces the research objects, main contents and characteristics of translation studies, and finally summarizes the three development stages of translation studies.&lt;br /&gt;
&lt;br /&gt;
'''3.1Translation and Translatology'''&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Translation&amp;quot; and &amp;quot;translatology&amp;quot; are two distinct but often seriously confused concepts. The most familiar concept is translation, but there is no exact definition of translation.“Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.”（Wikipedia）And Eugene A. Nida defined that “Translating consists in reproducing in the receptor language, the closest nature equivalent of the source language message, first in terms of meaning, and secondly in terms of style.” As can be seen from the definition of translation, translation is a cross-cultural activity involving the conversion of two languages.&lt;br /&gt;
In a different aspect,“Translation studies is an academic interdiscipline dealing with the systematic study of the theory, description and application of translation, interpreting, and localization.” In English, &amp;quot;translatology&amp;quot; is used to refer to translation studies.&amp;quot; Liu Chongde also set the definition that translatology is a comprehensive and systematic study of the law of bilingual transformation in translation, and a basic science of the law and method of translation thinking&amp;quot;.&lt;br /&gt;
Translatology is a human science that studies translation. The study of translation has its own unique object of study -- bilingual transformation. Around this center, translation studies also carry out researches on translation history, translation theory, translation criticism, translation teaching and so on.Translation Studies borrows much from the various fields of study that support translation，such as linguistic，literature，philosophy etc.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Three Stages of Translatology'''&lt;br /&gt;
&lt;br /&gt;
Throughout the development history of translation in China and the West, the development of translation studies has gone through three similar processes, from early translation practice to the awakening of the need to establish an independent discipline to the rapid development of translation studies.&lt;br /&gt;
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'''3.2.1 Early translation practice'''&lt;br /&gt;
Translation practice has a long history in both China and the West. Because of the needs of daily communication and cultural exchange, translation has become an important part of social life. China has a long history of translation, which can be traced back to the Han and Tang Dynasties. In the late Ming and early Qing dynasties, translation flourished for the second time. Then a large number of translation practitioners appeared in the late Qing Dynasty and early Republic of China. They translated a large number of texts for the purpose of saving the country, such as Yan Fu and Lin Shu. There were more translation practices in modern China, such as Lu Xun, Lin Xianyi, Fu Lei and so on.The early Western translation went through the Latin translation stage and the Bible translation period. By the Renaissance, there were a large number of translators and translated works. From the 17th century to the 19th century, the western translation of classical works reached a climax, during which A·F·Tytler and Schleiermacher explored the early translation theory. It can be said that translation theory originates from translation practice, which has laid a good foundation for theoretical exploration for centuries. Theory and practice are combined to promote each other.&lt;br /&gt;
'''&lt;br /&gt;
3.2.2 The awareness of an academic discipline'''&lt;br /&gt;
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Since translation is an activity involving language, linguistics is a science specialized in the study of language. For a long time, translatology has been included in the field of linguistic study. But in the early 20th century, with the emergence of a group of highly competent and independent-minded translation theorists, they called for &amp;quot;translation must become an independent discipline&amp;quot;. People gradually realized that translation practice without the guidance of scientific theories is blind, and it is necessary to establish a discipline specializing in translation activities. James S. Holmes asked for the consolidation of a separate discipline and proposed a classification of the field. Nida and Willss also argued that translation is a science, not a mere technical activity.&lt;br /&gt;
Such a group of people also appeared in modern China. Lin Yutang used the word &amp;quot;translation studies&amp;quot; many times in the 1930s. Dong Qiusi put forward in 1951 the idea of building a scientific and systematic translation theory system. After Dong, a group of famous translators such as Tan Zaixi and Liu Miqing also indicated that translation studies must be established.&lt;br /&gt;
With so much effort devoted to translation theorists, the study of translation developed into an independent discipline in the 1980s.&lt;br /&gt;
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'''3.2.3 The rapid development stage of translation studies'''&lt;br /&gt;
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Translation studies, as a young discipline, has developed rapidly since it established its independent status, just as linguistics did at the beginning. Translation studies show a trend of multiple approaches, and there are many schools of translation, such as the school of language and the school of literature and art. Many scholars specialized in translation studies and have published a series of articles and works trying to build a comprehensive and systematic discipline. Up to now, translatology has become an important humanities subject in language studies.&lt;br /&gt;
Translatology has developed alongside the growth in translation schools and courses at university level. In 1995, a study of 60 countries revealed there were 250 bodies at university level offering courses in translation or interpreting. In 2013, the same database listed 501 translator-training institutions. Accordingly, there has been a growth in conferences on translation, translation journals and translation-related publications. The visibility acquired by translation has also led to the development of national and international associations of translation studies. It has shown a tendency to broaden its fields of inquiry, and this trend may be expected to continue.&lt;br /&gt;
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==='''4.The Influence of Linguistics on the Construction of Translatology'''===&lt;br /&gt;
&lt;br /&gt;
For the formation of translatology, one of the most conspicuous factors is the application of cross-disciplinary research, which not only expands the search field of translation studies, but also promotes people to study translation from different perspectives to explore its essence. From the discussion of translatology in the previous chapter, it can be seen that among the many related disciplines, linguistics is the most closely related discipline. This chapter mainly discusses the influence of linguistics on translation studies from three aspects: first, the exploration of translation problems by early linguists, second, the influence of linguistic theories on translation studies, and finally, the reference significance of the construction experience of linguistics for translation studies.&lt;br /&gt;
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4.1 Contributions of early linguists to translation&lt;br /&gt;
&lt;br /&gt;
As one of the important ways of constructing translation studies, linguistics has made an important contribution to the development of translation studies. With the development of modern linguistics, many linguists begin to explore translation from the perspective of linguistics. So many people who have made great contributions to translatology are linguists or those who have received systematic education in linguistics. Even early academic conferences on translation were included in the category of linguistic conferences.&lt;br /&gt;
Humboldt was a German linguist and politician. He had a deep understanding of many languages and was the first to demonstrate the translatability and untranslatability. Jacobson, one of the representatives of the Prague school, first borrowed concepts of &amp;quot;signifier&amp;quot; and &amp;quot;signified&amp;quot; that proposed by Saussure to study the differences between the linguistic form and content of translated texts. He divided translation into three types: intralingual translation, interlingual translation and intersemiotic translation. He defined the research object of translation and studied translation theories from the perspective of linguistics. Catford is a representative of the London School of Linguistics. He adopts Halliday 's theory of systemic-functional grammar to study the nature, category, equivalence, transformation and limitation of translation. Georges Mounin, a French linguist, used the theory of structuralist linguistics to analyze the linguistic barriers in translation, expounded the relationship between translation and philology, context and syntax, and systematically studies the problem of translatability.&lt;br /&gt;
These early linguists' contributions to translation are reflected in two aspects. On the one hand, they studied translation from the perspective of language and further revealed the essence of translation, which made translation get rid of the early empiricism and mysticism and directly promoted the development of translation theory. On the other hand, their research inspired later scholars to continue to explore the value of translation. However, these linguists' contributions to translation still have some limitations, because they only take translation as a part of linguistics to study, so the scope and depth of their research are not enough.&lt;br /&gt;
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4.2 Translation studies based on linguistic theory&lt;br /&gt;
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In the 1950s and 1960s, a relatively systematic theory of linguistic translation was formed in the West. Later, some translation scholars began to use the structural theory, transformational generation grammar theory, functional theory, and discourse analysis theory of modern linguistics to study translation. With the development of linguistics, many new achievements of linguistics have been applied to translation studies, such as sociolinguistics, discourse linguistics, cognitive linguistics, etc. The development of contemporary linguistics provides a new perspective for the construction of translation studies and gives new vitality to traditional translation studies.&lt;br /&gt;
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4.2.1 The influence of Structuralist linguistics&lt;br /&gt;
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Structuralist linguistics began with Saussure 's masterpiece A Course in General Linguistics, which is regarded as the beginning of modern linguistics. Many linguists take Saussure's theory as the theoretical foundation and regard linguistic units as the research object to analyze &amp;quot;pure linguistic forms&amp;quot;. After the emergence of structuralist linguistics, it developed rapidly. By the early 1930s, it occupied the dominant position in Europe and The United States and formed various schools of universities. With the promotion of structural linguistics, translators begin to conduct translation studies with the help of structural linguistics.&lt;br /&gt;
Nida put forward the translation theory under the influence of Bloomfield and Chomsky. He referred to Chomsky 's theory of transformational generative grammar, summarized a set of rules for systematic language translation and proposed the core concepts of &amp;quot;the science of translation&amp;quot; and &amp;quot;dynamic equivalence/Functional equivalence&amp;quot;. Nida 's translation theory has had a great influence in the West and China. Wilss, a German translation theorist, further elaborated Nida 's theory and insisted that translation is a science. Using the theory of general linguistics, Russian translation theorist Barkhudalov divided the language hierarchical system into six levels: phoneme, morpheme, word, phrase, sentence and discourse. According to the language level of the translation unit, six corresponding translation equivalents can be divided accordingly, which is also known as the &amp;quot;six-level equivalence theory&amp;quot; .&lt;br /&gt;
Structural linguistics advocates to focus on analyzing the linguistic form, syntactic structure and linguistic unit of the source language, and adopts syntactic component analysis. But this way of analysis overemphasizes the formal structure of language and neglects the social and cultural environment of language.&lt;br /&gt;
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4.2.2 The influence of discourse linguistics&lt;br /&gt;
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For a long time, the theory of structural linguistics has been the focus of translation studies, but with the deepening of translation studies, the shortcomings of structural linguistics have gradually appeared. Some scholars try to get rid out of the pure language research and study translation in a broader scope. Many translators apply discourse linguistics to the study of translation, because discourse linguistics is not confined to the study of language itself, but expands its vision to the context and communicative functions of language.&lt;br /&gt;
Hatim and Mason are the earliest foreign scholars who study translation by using pragmatics. They studied speech act from the perspective of pragmatic translation of context. Christiane Nord is a leading figure in the German school of Functional Translation. She used the theory of functional linguistics for research and analysis, emphasizing the need for interdisciplinary research between translation and linguistics, philosophy, sociology and computer science. In China, Zhang Meifang studied translation from the perspective of language function, while Huang Guowen explored the translation of ancient poems from the perspective of systemic-functional linguistics. They affirm the significance of discourse linguistics in the study of translation and actively explore the translation analysis methods of discourse linguistics&lt;br /&gt;
The focus of discourse linguistics is on the whole text, meaning is reflected through linguistic structure, and translation equivalence is established at the level of text and communication. Its object of study is not only the language system, but also the interlingual factors. Discourse linguistics also studies how to achieve equivalence on the communicative level of discourse by analyzing the characteristics, genre and situational context of discourse, which has many implications for the theory and practice of translation.&lt;br /&gt;
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4.2.3 The influence of contemporary linguistics&lt;br /&gt;
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As a school of contemporary linguistics, cognitive linguistics was formed from the late 1980s to the 1990s, which takes experiential philosophy as its background, anti-transformational generative grammar as its theoretical basis and is related to various disciplines such as artificial intelligence and psychology. Translation is also a psychological activity. The process of translation is a cognitive system, which includes language cognition, context cognition, discourse cognition, subject cognition of translation and sociocultural cognition. Therefore, cognitive linguistics can be used to analyze translation so as to better understand the author's intention and the unique mode of expression. Therefore, cognitive linguistics not only provides a new perspective for translation studies, but also guides the development of translation theory and practice.&lt;br /&gt;
Corpus linguistics is a branch of linguistics that studies language on the basis of corpus. Since the 1990s, corpus linguistics has provided a large number of analytical methods and corpus for translation studies. At present, parallel corpus, multilingual corpus and comparable corpus are widely used. The parallel corpus collects original texts in one language and their corresponding translations into another. Multilingual corpus is a complex corpus composed of two or more monolingual corpus texts of different languages. The comparable corpus collects original texts in a language, such as English, as well as texts translated from other languages. The translation corpus provides a new tool for translation studies and provides great convenience and new research ideas for translation studies.&lt;br /&gt;
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4.3 The experience of the construction of linguistics&lt;br /&gt;
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In the 19th century, linguistics began to acquire discipline autonomy. The birth of Saussure 's Course In General Linguistics in 1916 became the beginning of modern linguistics, and the independent discipline of linguistics has been firmly established. At present, a relatively mature linguistic system has been formed. For translation studies, a young discipline, the development course, structure and trend of linguistics are of great inspiration and reference value.&lt;br /&gt;
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4.4.1 Discipline development&lt;br /&gt;
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Linguistics achieved independence earlier than translatology, but the development course of linguistics and translatology is similar. From the perspective of the development of linguistics, linguistics was first attached to other disciplines. After the efforts of many linguists, it has become a truly independent discipline. Second, there were branches of grammar before there was the core branch of general linguistics. Finally, many schools and different theories have emerged with the development of linguistics, and many new theories have been proposed based on the deficiencies of the original theories.&lt;br /&gt;
The course of the development of linguistics can enlighten translation studies. First, in the process of its development, translation studies must insist on the independent status of the subject and grasp the autonomy of the subject. Second, translation studies need to develop their own core branches, to publish cross-generational works; Finally, the diversification of disciplines should be encouraged and different ideas and theories should be allowed to emerge.&lt;br /&gt;
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4.4.2 Subject structure&lt;br /&gt;
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Because linguistics has been independent for a longer time, its disciplinary structure is more systematic and mature than that of translation studies. At present, many scholars are trying to build a disciplinary framework of translatology, and the disciplinary structure of linguistics is a good reference example.&lt;br /&gt;
From the perspective of disciplinary structure, linguistics has many branches and a huge system, which can be divided into two categories: general linguistics and applied linguistics. The former includes phonetics, phonology, morphology, syntax, semantics and pragmatics. The latter includes sociolinguistics, psycholinguistics, neurolinguistics, discourse analysis, computational linguistics, cognitive linguistics, etc. Each branch has its own field of study, and there are smaller branches.&lt;br /&gt;
Referring to the disciplinary structure of linguistics, translation studies can also try to build a similar framework according to their own disciplinary characteristics, such as general translation studies and applied translation studies.&lt;br /&gt;
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4.4.3 Development Trend of discipline&lt;br /&gt;
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Both linguistics and translatology are interdisciplinary subjects that can be referenced and assimilated from other related disciplines. Translation studies and linguistics can also learn from each other and develop together.&lt;br /&gt;
In the process of development, linguistics penetrates many other disciplines, such as sociology, psychology, logic, information theory, neurophysiology, computer science, etc., forming many marginal disciplines or cross disciplines, such as sociolinguistics, psycholinguistics, neurolinguistics, cognitive linguistics, etc. Translatology, as a new discipline, must not be confined to the study of translated texts, but should view the development of other disciplines from an open perspective, and learn and summarize experience.&lt;br /&gt;
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==='''5.Conclusion'''===&lt;br /&gt;
Linguistics has gone through many stages of development, and each stage has formed different schools of theory and research methods, which have also brought important theoretical and methodological enlightenment to translation studies. The influence of linguistics on the construction of translation studies is mainly reflected in three aspects: first, the exploration of translation problems by early linguists led translation studies to the approach of scientific research; Secondly, modern linguistic theories provide new perspectives for translation studies, such as structural linguistics, discourse linguistics, cognitive linguistics and corpus linguistics. Thirdly, the development of linguistics can provide experience for the construction of translation studies. Linguistics and translatology are the most closely related disciplines, and the relationship between them has always been the focus of discussion. Now, it has basically reached a consensus that linguistics is closely related to translation studies, and linguistics can provide a scientific theoretical basis for translation studies and translation activities. However, as Liu Miqing said, &amp;quot;Translators' attitude towards all other disciplines should only be used for reference, not grafting.&amp;quot; (Liu Miqing, 1989) Based on the development of translatology, translation studies should reasonably use the research results of linguistics for reference, instead of copying them completely.&lt;br /&gt;
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==='''References'''===&lt;br /&gt;
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== Expectations on the Role of Interpreters in Intercultural Interpretation and Coping Strategies for Cultural Differences	李璐伊	Li Luyi==&lt;br /&gt;
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==Reflection on the Learning of Translation Studies in China	许晶	Xu Jing==&lt;br /&gt;
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==The influence of translator's cultural identity on translation	周玉娟	Zhou Yujuan==&lt;br /&gt;
&lt;br /&gt;
==Descriptive translation studies	曹润鑫	Cao Runxin==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
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===Key words===&lt;br /&gt;
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===摘要===&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201215_cultexam&amp;diff=107702</id>
		<title>20201215 cultexam</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201215_cultexam&amp;diff=107702"/>
		<updated>2020-12-06T08:07:25Z</updated>

		<summary type="html">&lt;p&gt;Cao Runxin: /* Cao Runxin 曹润鑫 */&lt;/p&gt;
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&lt;div&gt;Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].&lt;br /&gt;
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'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section and provide the answers right beneath.&lt;br /&gt;
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==Alsied, Saffana==&lt;br /&gt;
&amp;quot;Chinese Astrology&amp;quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)&lt;br /&gt;
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==Cao Runxin 曹润鑫==&lt;br /&gt;
[[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]&lt;br /&gt;
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===Spring Festival Couplets===&lt;br /&gt;
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
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Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today. &lt;br /&gt;
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The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.&lt;br /&gt;
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There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family. &lt;br /&gt;
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===Terms and Expressions ===&lt;br /&gt;
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 &lt;br /&gt;
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Paste 贴&lt;br /&gt;
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Horizontal scroll 横联&lt;br /&gt;
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Upper scroll 上联&lt;br /&gt;
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Lower scroll 下联&lt;br /&gt;
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===Questions ===&lt;br /&gt;
1.What’s the purpose of pasting Spring Festival Couplets?&lt;br /&gt;
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To expresses people’s delight in the festival and wishes for a better life in the coming year.&lt;br /&gt;
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2.What’s the historical origin of Spring Festival Couplets?&lt;br /&gt;
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It  originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.&lt;br /&gt;
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3.How to read the Spring Festival Couplets?&lt;br /&gt;
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First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left. &lt;br /&gt;
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4.How to do with the Old Couplets?&lt;br /&gt;
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Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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===Guzheng===&lt;br /&gt;
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''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It  belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time. Due to the long history and its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. &lt;br /&gt;
&lt;br /&gt;
''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It refers to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time. Due to the long history and its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.--[[User:Root|Root]] ([[User talk:Root|talk]]) 07:36, 30 November 2020 (UTC)&lt;br /&gt;
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There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period. The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of the''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. &lt;br /&gt;
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The modern-day ''Guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as Yan Zhu which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany, and some patterns are decorated on the head and the tail.&lt;br /&gt;
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The fingerpicks, called Dai Mao or Yi Jia, &lt;br /&gt;
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===Terms and expressions===&lt;br /&gt;
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*Meng Tian 蒙恬 &lt;br /&gt;
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*Zhao Lin 赵璘&lt;br /&gt;
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*''Records on Words'' 《因话录》&lt;br /&gt;
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*anterior mountain 前岳山 &lt;br /&gt;
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*posterior mountain 后岳山&lt;br /&gt;
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*Yan Zhu 雁柱 &lt;br /&gt;
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*string pegs 弦钉&lt;br /&gt;
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*turning box 调音盒 &lt;br /&gt;
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*zither feet 琴足&lt;br /&gt;
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*paulownia 桐木 &lt;br /&gt;
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*mahogany 红木&lt;br /&gt;
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*Dai Mao 玳瑁&lt;br /&gt;
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*Yi Jia 义甲&lt;br /&gt;
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===Questions===&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
===A. Facial makeup===&lt;br /&gt;
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Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.&lt;br /&gt;
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People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.  &lt;br /&gt;
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The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.&lt;br /&gt;
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Red&lt;br /&gt;
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Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.  &lt;br /&gt;
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Black&lt;br /&gt;
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Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.&lt;br /&gt;
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White&lt;br /&gt;
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White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.&lt;br /&gt;
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Blue&lt;br /&gt;
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Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun .&lt;br /&gt;
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Purple&lt;br /&gt;
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Purple facial makeup shows more sedate and righteous  like Xu Yanzhao and Zhuan Zhu. &lt;br /&gt;
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Golden&lt;br /&gt;
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Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata(Sakyamuni, the creator of Buddhism) and Erlang Shen( a Chinese God with a third truth-seeing eye in the middle of his forehead).&lt;br /&gt;
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The features of facial makeup are mainly as follows:&lt;br /&gt;
First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture. &lt;br /&gt;
It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
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painted face 花脸&lt;br /&gt;
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clown 丑角&lt;br /&gt;
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legend，romance 传奇剧&lt;br /&gt;
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Tathagata 如来佛&lt;br /&gt;
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Sakyamuni 释迦牟尼&lt;br /&gt;
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===C. Questions===&lt;br /&gt;
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==Dashkin, Gennadii==&lt;br /&gt;
=== Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===&lt;br /&gt;
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1.Liu Cixin（刘慈欣）&lt;br /&gt;
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Liu Qixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976).&lt;br /&gt;
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Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. So science and technology have always been constant elements of his life.&lt;br /&gt;
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Liu Qixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written and naive and decided that he did not deserve publication.However, Liu Qixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Qixin's first big book appeared - the novel &amp;quot;Supernova Era&amp;quot;. Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence.&lt;br /&gt;
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Liu's first books were warmly received in China, but nevertheless real success came to the author only in 2006, when he published the first part of his trilogy &amp;quot;Memory of the Earth's Past&amp;quot; - the novel &amp;quot;The Problem of Three Bodies&amp;quot; in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as &amp;quot;The Three-Body Problem,&amp;quot; although this is not formally true.&lt;br /&gt;
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In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus.&lt;br /&gt;
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Liu Qixin is definitely a unique writer, with his own style, philosophy and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Tsisin trilogy. But the main thing that Liu Qixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Qixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics, but also to science fiction literature.&lt;br /&gt;
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2.Chen Qiufan (陈楸帆） &lt;br /&gt;
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Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.&lt;br /&gt;
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Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.&lt;br /&gt;
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His debut book was ''The Empty Wave'', &amp;quot;combining realism and allegory to represent the hybridity of humans and machines.&amp;quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.&lt;br /&gt;
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His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.&lt;br /&gt;
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3.Rebecca F. Kuang (匡蘦秀)&lt;br /&gt;
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When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.&lt;br /&gt;
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Quang grew up in Dallas, Texas and later went to Georgetown University in large part because of the college's discussion team. Quang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.&lt;br /&gt;
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Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.&lt;br /&gt;
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Her debut novel, The Opium War, is a war fantasy set inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological and philosophical realities of China of the chosen era.&lt;br /&gt;
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===Vocabulary List===&lt;br /&gt;
===Questions===&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;amp;fm=26&amp;amp;gp=0.jpg] for original source.]]&lt;br /&gt;
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===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
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Stilt is one of the folk dances of the Han nationality in our country, which is called &amp;quot;Stilt Yangko&amp;quot; in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near.&lt;br /&gt;
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As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &amp;quot;Tongle Gaojiaohui&amp;quot;(同乐高脚会）founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing. It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.&lt;br /&gt;
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The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then it comes the show of Kylin Songzi（麒麟送子）after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou's waist like a lion. Then it follows the routine of going downhill. When it's done, the show is over. That's the whole performance.&lt;br /&gt;
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Miliangtun Village Stilts as a renowned fair, known as the features of risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. Legs and feet must be agile, jumping the large bench is quite demanding that normal players can hardly accomplish. Each of the thirteen roles has its own talents. Tuotou is an adventurous figure who leads the team. The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. The centre of balance is extremely difficult to grasp. One must bend his knees slightly and keep moving when walking on stilts. Stilt-walkers control the balance with waist, the upper body and their feet must be coordinated to ensure the balance. Stilt-walkers step on the wooden stilts, swinging from side to side. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing.&lt;br /&gt;
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There is strict inheritance relationship and etiquette in the stilt fair. It will set up inheritors, presidents, team leaders, and team members. Today, Miliangtun Village Stilts as the distinctive folklore in Wangzuo Town, Fengtai District, stands out among the stilt fairs in Beijing and enjoys great popularity from peers and the public. Miliangtun Village Stilts is visually stunning, technically accomplished and naturally funny. A fixed set of performance routines has gradually formed after long-term drills since its founding. It is divided into lead in, head stilt command, separation in formal performance. Stilts-walkers individually perform difficult tricks such as the big jump and the onion-pulling, then amuse and perform in separation, ending with the show of Kylin Songzi, which indicates good luck and peace. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks.&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
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Miliangtun (village name) 米粮屯&lt;br /&gt;
stilts 高跷&lt;br /&gt;
intangible cultural heritage 非物质文化遗产&lt;br /&gt;
folk dance 民间舞蹈&lt;br /&gt;
Toutou 陀头&lt;br /&gt;
Laozuozi 老坐子 &lt;br /&gt;
young boy 小二哥&lt;br /&gt;
young master 公子&lt;br /&gt;
Mr.Plaster 药先生&lt;br /&gt;
Choupo 丑婆&lt;br /&gt;
fisherman渔翁&lt;br /&gt;
Yupo 渔婆 &lt;br /&gt;
wood-cutter 柴翁&lt;br /&gt;
handsome and ugly drum-players 俊鼓和丑鼓&lt;br /&gt;
handsome and ugly gong-players 俊锣和丑锣&lt;br /&gt;
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====Questions====&lt;br /&gt;
1. Where does Miliangtun Village Stilts originate?&lt;br /&gt;
2. How many years of history does Miliangtun Village Stilts have?&lt;br /&gt;
3. How many roles in Miliangtun Village Stilts?&lt;br /&gt;
4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?&lt;br /&gt;
5. How long is the shortest and the longest stilts?&lt;br /&gt;
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Answers: &lt;br /&gt;
1. Wangzuo Town, Fengtai District, Beijing.&lt;br /&gt;
2. More than 250 years.&lt;br /&gt;
3. 13.&lt;br /&gt;
4. In 2006.&lt;br /&gt;
5. The shortest stilt is two feet long, and the longest reaches over five feet.&lt;br /&gt;
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--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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'''Chinese lion dancing'''&lt;br /&gt;
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Lion dancing is a traditional folk art with a history of about 2000 years, which is  often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of luck and good fortune. However, there is no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty. &lt;br /&gt;
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When lions were first introduced into China, their ferocious image was unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha. In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.&lt;br /&gt;
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There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong at the end of the year. Local people called it “Nian”. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
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In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together.&lt;br /&gt;
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Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dancing in China: northern lion dancing and southern lion dancing.&lt;br /&gt;
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'''Northern lion dancing'''&lt;br /&gt;
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The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. &lt;br /&gt;
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Little lion dance is performed by one person, and the big lion dance is performed by two people. Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.&lt;br /&gt;
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'''Southern lion dancing'''&lt;br /&gt;
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Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion.&lt;br /&gt;
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The head of southern lion has three colors, namely black, red and yellow. It is called &amp;quot;Liu Bei lion&amp;quot;, &amp;quot;Guan Gong lion&amp;quot; and &amp;quot;Zhang Fei lion&amp;quot;, which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom（AD 221-263）. Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different “Ma Bu” or horse stances, coupled with the movements of lion head, to show a variety of shapes. &lt;br /&gt;
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Dancers usually perform the traditional custom of “Cai Qing”, literally meaning &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. &lt;br /&gt;
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In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. &lt;br /&gt;
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'''Terms and Expressions'''&lt;br /&gt;
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Western Regions 西域&lt;br /&gt;
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mount 坐骑&lt;br /&gt;
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Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
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gong 锣&lt;br /&gt;
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northern lion dancing 南狮&lt;br /&gt;
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southern lion dancing 北狮&lt;br /&gt;
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colorful silk ball 绣球&lt;br /&gt;
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wooden stakes 木桩&lt;br /&gt;
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spiritual resemblance神似&lt;br /&gt;
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Liu Bei lion 刘备狮&lt;br /&gt;
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Guan Gong lion 关公狮&lt;br /&gt;
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Zhang Fei lion 张飞狮&lt;br /&gt;
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sworn brothers 结义兄弟&lt;br /&gt;
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horse stances 马步&lt;br /&gt;
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Cai Qing 采青&lt;br /&gt;
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lettuces 生菜&lt;br /&gt;
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'''Questions'''&lt;br /&gt;
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1. '''How long is the history of lion dance in China?'''&lt;br /&gt;
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It is with a history of about 2000 years.&lt;br /&gt;
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2. '''Why did people gradually accept lion as a sacred animal?'''&lt;br /&gt;
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Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.&lt;br /&gt;
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3. '''Why did people use lion dance to celebrate the New Year?'''&lt;br /&gt;
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In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the &amp;quot;lion&amp;quot;, so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.&lt;br /&gt;
&lt;br /&gt;
4. '''What is the main difference between southern lion dancing and northern lion dancing?'''&lt;br /&gt;
&lt;br /&gt;
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.&lt;br /&gt;
&lt;br /&gt;
5. '''What is the center of southern lion dancing?'''&lt;br /&gt;
&lt;br /&gt;
It is in southern China’s Guangdong province.&lt;br /&gt;
&lt;br /&gt;
6. '''How many colors are there in the heads of southern lions? And what are they?'''&lt;br /&gt;
&lt;br /&gt;
The head of southern lion has three colors, namely black, red and yellow.&lt;br /&gt;
&lt;br /&gt;
7. '''What is “Cai Qing”? And what do you know about “Cai Qing”?'''&lt;br /&gt;
&lt;br /&gt;
It means &amp;quot;plucking the greens&amp;quot;, which is the most common step in the performance of the southern lion dancing. It is said that &amp;quot;Cai Qing&amp;quot; originally meant opposing the Qing Dynasty, but now it is interpreted as &amp;quot;vigorous&amp;quot;, which means that the business is booming.&lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
&lt;br /&gt;
[1] 张国斌. 中国传统舞龙舞狮运动历史文化探索及传播研究 [J]. 散文百家(新语文活页), 2019(10): 157-158.&lt;br /&gt;
&lt;br /&gt;
[2] 刘兴. 从文化结构看舞龙舞狮运动的现代化发展 [J]. 体育师友, 2019, 42(04): 37-39.&lt;br /&gt;
&lt;br /&gt;
[3] 于兆杰. 中国舞狮的起源及其发展演变 [J]. 搏击. 武术科学, 2008(06): 75-76.&lt;br /&gt;
&lt;br /&gt;
[4] 张延庆. 中国舞狮的起源与文化演变 [J]. 体育文化导刊, 2003(11): 77-78.&lt;br /&gt;
&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
===A. The Eight Tang-Song Prose Masters===&lt;br /&gt;
[[File:example.jpg]]&lt;br /&gt;
&lt;br /&gt;
===Brief Introduction of The Eight Tang-Song Prose Masters===&lt;br /&gt;
&lt;br /&gt;
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. &lt;br /&gt;
Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &amp;quot;Ancient Prose Movement&amp;quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong.&lt;br /&gt;
In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.&lt;br /&gt;
&lt;br /&gt;
'''1. Han Yu'''&lt;br /&gt;
[[File:Han Yu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. &lt;br /&gt;
Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.&lt;br /&gt;
&lt;br /&gt;
'''2. Liu Zongyuan'''&lt;br /&gt;
[[File:Liu Zongyuan.jpg]]&lt;br /&gt;
&lt;br /&gt;
Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &amp;quot;Liu Hedong &amp;quot;, &amp;quot; Mr. Hedong &amp;quot;, also known as&amp;quot; Liu Liuzhou &amp;quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor .&lt;br /&gt;
was juxtaposed with Han Yu as &amp;quot;Han Liu &amp;quot;, with Liu Yuxi as &amp;quot; Liu Liu &amp;quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &amp;quot;Wang Meng Wei Liu &amp;quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &amp;quot;Liu He Dong Colloection&amp;quot; was one of his representatives.&lt;br /&gt;
He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation.&lt;br /&gt;
&lt;br /&gt;
'''3. Ouyang Xiu'''&lt;br /&gt;
[[File:Ouyang Xiu.jpg]]&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.&lt;br /&gt;
Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.&lt;br /&gt;
Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.&lt;br /&gt;
&lt;br /&gt;
'''4. Su Xun'''&lt;br /&gt;
[[File:Su Xun.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.&lt;br /&gt;
Su Xun was a man of political ambition. He said that the main purpose of his works was &amp;quot;to speak for the world &amp;quot;, to&amp;quot; apply to the present &amp;quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot.&lt;br /&gt;
  &lt;br /&gt;
'''5. Su Shi'''&lt;br /&gt;
[[File:Su Shi.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Shi, with a fame as &amp;quot; Dongpo Jushi &amp;quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .&lt;br /&gt;
Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &amp;quot;Han Chao Su hai&amp;quot; with Han Yu in the prose area, &amp;quot;Ou Su&amp;quot; with Ouyang Xiu, &amp;quot;Su Huang&amp;quot; with Huang Tingjian, and &amp;quot;Su Xin&amp;quot; with Xin Qiji in the Ci area, so he was called &amp;quot;the first all-round talent in ancient China&amp;quot;.&lt;br /&gt;
Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &amp;quot;creating for certain purposes&amp;quot;, advocating nature and getting rid of bondage. Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.&lt;br /&gt;
&lt;br /&gt;
'''6. Su Zhe'''&lt;br /&gt;
[[File:Su Zhe.jpg]]&lt;br /&gt;
&lt;br /&gt;
Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.&lt;br /&gt;
Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &amp;quot;literary style&amp;quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and On the Six Kingdoms. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &amp;quot;Ode to Ink bamboo&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
'''7. Wang Anshi'''&lt;br /&gt;
[[File:Wang Anshi.jpg]]&lt;br /&gt;
&lt;br /&gt;
Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .&lt;br /&gt;
Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use.&lt;br /&gt;
&lt;br /&gt;
'''8. Zeng Gong'''&lt;br /&gt;
[[File:Zeng Gong.jpg]]&lt;br /&gt;
&lt;br /&gt;
Zeng Gong was known as &amp;quot;Mr. Nan Feng&amp;quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &amp;quot;eight masters&amp;quot; of the Tang and Song Dynasties, he was also one of the &amp;quot;Seven Zengs of Nanfeng&amp;quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.&lt;br /&gt;
&lt;br /&gt;
'''9. Comparison between the Ancient Prose Movement and Renaissance'''&lt;br /&gt;
Although there was seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the Middle Ancient period of Western history. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their respective cultures.&lt;br /&gt;
Comparison in ideology:&lt;br /&gt;
The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the pre-Qin period and the realization of the realistic goal of carrying the Tao in literature. It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome. Their premise and foundation are their own classical thoughts.&lt;br /&gt;
Comparison in writing style:&lt;br /&gt;
The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of the Tang Dynasty studied the simple language style of the pre-Qin period, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek period.&lt;br /&gt;
Comparison in literary form:&lt;br /&gt;
The Ancient Prose Movement not only corrected the floating and rigid writing style of the six dynasties, but also laid a good creative foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language. While although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theory and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said :&amp;quot; Italian literature is a new type of literature different from classical literature.&lt;br /&gt;
&lt;br /&gt;
===B. Terms and Expressions===&lt;br /&gt;
The Eight Tang-Song Prose Masters 唐宋八大家&lt;br /&gt;
 &lt;br /&gt;
Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》&lt;br /&gt;
&lt;br /&gt;
Ancient Prose Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
parallel prose 骈文&lt;br /&gt;
&lt;br /&gt;
The Decline of Eight Generations 文起八代之衰&lt;br /&gt;
&lt;br /&gt;
The Article Giant 文章巨公&lt;br /&gt;
&lt;br /&gt;
Admired Literate of One Hundred Generations 百代文宗&lt;br /&gt;
&lt;br /&gt;
Han Changli Collection 《韩昌黎集》&lt;br /&gt;
&lt;br /&gt;
External collection 《外集》&lt;br /&gt;
&lt;br /&gt;
The Teacher's Theory《师说》&lt;br /&gt;
&lt;br /&gt;
Pre-Qin and Han Dynasties 先秦两汉时期&lt;br /&gt;
&lt;br /&gt;
writing in classical Chinese 文言文&lt;br /&gt;
&lt;br /&gt;
feudal provincial of Liuzhou 柳州刺史&lt;br /&gt;
&lt;br /&gt;
official supervisor of imperial censor 监察御史&lt;br /&gt;
&lt;br /&gt;
Liu He Dong Colloection 《柳河东集》&lt;br /&gt;
&lt;br /&gt;
Northern Song Dynasty 北宋&lt;br /&gt;
&lt;br /&gt;
a thousand volumes of collections of inscriptions 金石遗文一千卷&lt;br /&gt;
&lt;br /&gt;
Xia, Shang, Zhou Dynasties 三代&lt;br /&gt;
&lt;br /&gt;
the crown of that time 一时之冠&lt;br /&gt;
&lt;br /&gt;
Southern Tang Dynasty 南唐&lt;br /&gt;
&lt;br /&gt;
Yu Feng 余风&lt;br /&gt;
&lt;br /&gt;
The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》&lt;br /&gt;
&lt;br /&gt;
the Northern Song Dynasty poetry innovation movement北宋诗文革新运动&lt;br /&gt;
&lt;br /&gt;
Heng Lun 《衡论》&lt;br /&gt;
&lt;br /&gt;
Duke Jingguo 荆国公&lt;br /&gt;
 &lt;br /&gt;
The Book to the Emperor 《上皇帝书》&lt;br /&gt;
&lt;br /&gt;
Dongpo Jushi 东坡居士&lt;br /&gt;
&lt;br /&gt;
Ci writer 词人&lt;br /&gt;
&lt;br /&gt;
Unconstrained Ci School豪放派&lt;br /&gt;
&lt;br /&gt;
literary and artistic attainments 文学艺术造诣&lt;br /&gt;
&lt;br /&gt;
the first all-round talent in ancient China 中国古代第一全才&lt;br /&gt;
&lt;br /&gt;
Su Men Four bachelors 苏门四学士&lt;br /&gt;
&lt;br /&gt;
the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》&lt;br /&gt;
&lt;br /&gt;
The New Theory《新论》&lt;br /&gt;
&lt;br /&gt;
On the Six Kingdoms 《六国论》&lt;br /&gt;
&lt;br /&gt;
Ode 赋&lt;br /&gt;
&lt;br /&gt;
The Ode to Ink bamboo 《墨竹赋》&lt;br /&gt;
&lt;br /&gt;
Seven Zengs of Nanfeng 南丰七曾&lt;br /&gt;
&lt;br /&gt;
the doctrine before the text先道后文&lt;br /&gt;
&lt;br /&gt;
the Book to Ouyang She Ren 《上欧阳舍人书》&lt;br /&gt;
&lt;br /&gt;
the Book to Bachelor Cai 《上蔡学士书》&lt;br /&gt;
&lt;br /&gt;
the Six Dynasties 六朝&lt;br /&gt;
&lt;br /&gt;
===C. Questions===&lt;br /&gt;
1.Who are the pioneers of the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
Han Yu and Liu Zongyuan.&lt;br /&gt;
&lt;br /&gt;
2.Which kind of prose they advocate in the Ancient Prose Movement?&lt;br /&gt;
&lt;br /&gt;
The prose of Pre-Qin and Han Dynasties.&lt;br /&gt;
&lt;br /&gt;
3.Do you know any representatives of Liu Zongyuan?&lt;br /&gt;
&lt;br /&gt;
The &amp;quot;Liu He Dong Colloection&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
4.Why Ouyang Xiu is called &amp;quot;Liu Yi Scholar&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone.&lt;br /&gt;
&lt;br /&gt;
5.What’s the relationship among Su Xun, Su Shi and Su Zhe?&lt;br /&gt;
&lt;br /&gt;
Su Xun is the father of Su Shi and Su Zhe. Also, Su Shi is the older brother.&lt;br /&gt;
&lt;br /&gt;
6.Who are the &amp;quot;Seven Zengs of Nanfeng&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.&lt;br /&gt;
&lt;br /&gt;
7.Do you know any about the Renaissance?&lt;br /&gt;
&lt;br /&gt;
The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1]房本文. 士族兴衰与骈散消长—唐代古文运动发微[D].南京大学,2013.&lt;br /&gt;
&lt;br /&gt;
[2]侯本塔.论唐、宋古文运动中的韩愈与欧阳修[J].三峡大学学报(人文社会科学版),2014,36(S1):135-137.&lt;br /&gt;
&lt;br /&gt;
[3]何蕾.中唐古文运动:社会转型背景下的文体之变[J].青海社会科学,2017(03):156-162.&lt;br /&gt;
&lt;br /&gt;
[4]罗书华.论唐宋古文运动非以骈文为对立面[J].上海师范大学学报(哲学社会科学版),2013,42(05):61-66.&lt;br /&gt;
&lt;br /&gt;
[5]芦思宏.略论中西文学的复古倾向——以唐代古文运动与意大利文艺复兴为例[J].中外文化与文论,2016(01):71-81.&lt;br /&gt;
&lt;br /&gt;
[6]宋芸.试从唐宋古文运动看“文”与“道”的关系[J].黑龙江教育学院学报,2013,32(04):114-115.&lt;br /&gt;
&lt;br /&gt;
[7]王亚平.论西欧中世纪的三次文艺复兴[J].东北师大学报,2001(06):1-8.&lt;br /&gt;
&lt;br /&gt;
[8]许和亚.唐宋古文运动革新文风的艺术契机[J].兰州文理学院学报(社会科学版),2014,30(04):62-65.&lt;br /&gt;
&lt;br /&gt;
[9]张剑. 唐宋古文运动的文学维度[N]. 人民政协报,2019-10-28(010).&lt;br /&gt;
&lt;br /&gt;
[10]张剑. 唐宋古文运动的思想维度[N]. 人民政协报,2019-08-26(010).&lt;br /&gt;
&lt;br /&gt;
[11]赵鲲.中国文学中的两大文学变革运动——古文运动与“五四”新文学运动之比较[J].解放军艺术学院学报,2016(01):113-119.&lt;br /&gt;
&lt;br /&gt;
[12]周振甫.唐宋八大家论[J].中华活页文选(教师版),2016(12):25-31.&lt;br /&gt;
&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
1、A Brief Introduction&lt;br /&gt;
&lt;br /&gt;
Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &amp;quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&amp;quot; and &amp;quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&amp;quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.&lt;br /&gt;
&lt;br /&gt;
2、Emergence and Development&lt;br /&gt;
&lt;br /&gt;
3、Different Schools&lt;br /&gt;
&lt;br /&gt;
4、Traditional Pipa Music&lt;br /&gt;
&lt;br /&gt;
==Grosheva, Anna==&lt;br /&gt;
=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The topic of werewolves in the XXI century is perhaps one of the most discussed and studied. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli Jing, or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude of Huli-Jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale?&lt;br /&gt;
&lt;br /&gt;
'''1. Huli-jing (狐狸精) in China'''&lt;br /&gt;
&lt;br /&gt;
First, we need to recreate the image of the Huli-Jing and what was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of the Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu.&lt;br /&gt;
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People, especially women, believed that thanks to the cult of the fox, they would be able to gain unearthly beauty and immortality. The official authorities of the ancient and medieval dynasties tried to fight the representatives of the Huli Jing cult, but it was only during the Song dynasty that the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not completely eradicated in China. Probably, a more competent decision was made to give the werewolf woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor.&lt;br /&gt;
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Perhaps the most striking examples of where the changed image of the Huli Jing is found can be called the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears.&lt;br /&gt;
&lt;br /&gt;
The theme of fatal love in the stories of werewolf foxes appears as a continuous line in Pu Songling, this suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their evil ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment.&lt;br /&gt;
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Of course, the image of the Huli Jing as a mythological character by the 21st century was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, for the most part, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries.&lt;br /&gt;
A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled &amp;quot;Good Hunt&amp;quot;. The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people.&lt;br /&gt;
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In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film &amp;quot;Painted Skin (畫皮)&amp;quot;, where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on the story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox.&lt;br /&gt;
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In addition, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what character Huli Jing should be.&lt;br /&gt;
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Quite a lot of information about werewolf foxes can be obtained from the TV series &amp;quot;The Legend of the Nine-Tailed Fox&amp;quot; released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are one family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil.&lt;br /&gt;
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Summing up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the first Chinese dynasties, the image of werewolf foxes has been predominantly negative and associated with deceit, seduction, and intrigue. But the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” and all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love.&lt;br /&gt;
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The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features.&lt;br /&gt;
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'''2. Kitsune (キツネ) in Japan''' &lt;br /&gt;
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In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari (&amp;quot;Fox-messenger&amp;quot;) and the Chinese, who considered foxes to be werewolves, a genus close to demons.&lt;br /&gt;
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Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky.&lt;br /&gt;
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Kitsune are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari himself is sometimes depicted as a fox. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky.&lt;br /&gt;
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A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. &lt;br /&gt;
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'''3. Kumiho (구미호) in Korea'''&lt;br /&gt;
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Kumiho - (구 &amp;quot;ku&amp;quot; - nine, 미 &amp;quot;mi&amp;quot; - tail, 호 &amp;quot;ho&amp;quot; - fox - &amp;quot;fox with nine tails&amp;quot;) is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is transforming into a beautiful girl. Although in myths there are also references to the becoming of a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores.&lt;br /&gt;
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In a later period, kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. There are several ways: 구미호 will not eat human flesh and kill for a thousand days. The second option is to eat the liver of a thousand men over a thousand years. The third - will live in a cave without sunlight, eating only wormwood and garlic. And also, if the person who recognized her as 구미호 in human form, keeps this secret for ten years.&lt;br /&gt;
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===Vocabulary===&lt;br /&gt;
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Shape shifter – 成精&lt;br /&gt;
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Creature –生物&lt;br /&gt;
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Seductive –诱人的&lt;br /&gt;
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Damnation –诅咒&lt;br /&gt;
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Metaphor –隐喻&lt;br /&gt;
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Ascribe –属性&lt;br /&gt;
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Indigenous –土着&lt;br /&gt;
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Deity – 反面人物&lt;br /&gt;
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Liver – 肝脏&lt;br /&gt;
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===References===&lt;br /&gt;
&lt;br /&gt;
Pu Song-ling. Fox charm. Monks-wizards. // Eastern literature. –2008. - P.280.&lt;br /&gt;
&lt;br /&gt;
Liu, Ken. Good Hunting.// Strange Horizons. - 2012. - p. 431.&lt;br /&gt;
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Kang Xiaofei. The cult of the fox: Power, gender and popular religion in late imperial and modern China//Columbia University Press. – New York, 2006. – Pp.269.&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
Chinese Characters&lt;br /&gt;
&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
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===A.Chinese Knots===&lt;br /&gt;
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====1.A Brief Introduction about Chinese Knots====&lt;br /&gt;
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The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It &lt;br /&gt;
&lt;br /&gt;
originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.&lt;br /&gt;
&lt;br /&gt;
The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.&lt;br /&gt;
 &lt;br /&gt;
The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and &lt;br /&gt;
&lt;br /&gt;
personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional  decoration and aesthetics,which &lt;br /&gt;
&lt;br /&gt;
earned the knot its name.&lt;br /&gt;
&lt;br /&gt;
====2.The Classification of Chinese Knots====&lt;br /&gt;
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There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥&lt;br /&gt;
&lt;br /&gt;
结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井&lt;br /&gt;
&lt;br /&gt;
结）,Cross Knot(十字结） and Ping Knot（平结）.&lt;br /&gt;
&lt;br /&gt;
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. &lt;br /&gt;
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=====2.1.The Double Coin Knot=====&lt;br /&gt;
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Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views &lt;br /&gt;
&lt;br /&gt;
on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only &lt;br /&gt;
&lt;br /&gt;
represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &amp;quot;luck money&amp;quot;. Therefore, for &lt;br /&gt;
&lt;br /&gt;
the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes &lt;br /&gt;
&lt;br /&gt;
&amp;quot;good things come in pairs&amp;quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful &lt;br /&gt;
&lt;br /&gt;
patterns, such as clouds and Perfect Knots，etc.&lt;br /&gt;
&lt;br /&gt;
=====2.2.The Good Luck Knot=====&lt;br /&gt;
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As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.&lt;br /&gt;
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And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.&lt;br /&gt;
&lt;br /&gt;
=====2.3.The Pan Chang Knot=====&lt;br /&gt;
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Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the &lt;br /&gt;
&lt;br /&gt;
avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is &lt;br /&gt;
&lt;br /&gt;
often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.&lt;br /&gt;
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====3.The Knitting Method of Chinese Knots====&lt;br /&gt;
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The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of  basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.&lt;br /&gt;
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The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.&lt;br /&gt;
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====4.The Cultural Connotations of Chinese Knots====&lt;br /&gt;
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Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of &lt;br /&gt;
&lt;br /&gt;
rope and thread.In Chinese， &amp;quot;rope&amp;quot; (绳）and &amp;quot;god&amp;quot; （神）are homophonic, so the Chinese nation has a worship of &amp;quot;rope&amp;quot;. In addition, Chinese people are descendants of &lt;br /&gt;
&lt;br /&gt;
dragons.Because the shape of &amp;quot;rope&amp;quot; is like a winding dragon,  people also regard &amp;quot;rope&amp;quot; as a symbol of dragon. Chinese people also have their own unique understanding of &lt;br /&gt;
&lt;br /&gt;
&amp;quot;knot&amp;quot;, which means reunion and happiness. Many of the Chinese words composed of &amp;quot;结&amp;quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交&lt;br /&gt;
&lt;br /&gt;
（making friends), and 永结同心（tie the knot),etc. &amp;quot;结&amp;quot;(knot) is also homonymous with &amp;quot;吉&amp;quot;（ausipiciousness), so people even think that &amp;quot;knot&amp;quot; is a symbol of good luck.&lt;br /&gt;
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====5.Comparisons between Chinese Knots and Cross Necklaces====&lt;br /&gt;
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=====5.1.Different Cultural Connotations=====&lt;br /&gt;
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From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of &lt;br /&gt;
&lt;br /&gt;
Christianity. The cross, derived from the Latin &amp;quot;crux&amp;quot;, means &amp;quot;fork&amp;quot;.It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient &lt;br /&gt;
&lt;br /&gt;
Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross &lt;br /&gt;
&lt;br /&gt;
ornaments in the west as cross necknaces are usually used to represent love and salvation.&lt;br /&gt;
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=====5.2.Different Shapes=====&lt;br /&gt;
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Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have &lt;br /&gt;
&lt;br /&gt;
different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.&lt;br /&gt;
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====6.References====&lt;br /&gt;
&lt;br /&gt;
[1]李库.符号学视角下的中国结解读.[J]艺海2016(08) : 125-126.&lt;br /&gt;
&lt;br /&gt;
[2]李立芳，孙建君.民间绳结[M].武汉：湖北美术出版社，2002.&lt;br /&gt;
&lt;br /&gt;
[3]许星.路论中国结[J].丝绸,2004(02) : 46-47.&lt;br /&gt;
&lt;br /&gt;
[4]邬红芳.中国结的意象美学特征[J]装饰，2004(09) : 120-121.&lt;br /&gt;
&lt;br /&gt;
[5]王眯珠，孙荪，曲洪建.怀旧心理与创新意识对中国结的影响分析[J].丝绸，2014(11):43-50.&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
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Double Coin Knot  双钱结&lt;br /&gt;
&lt;br /&gt;
Good Luck Knot 吉祥结&lt;br /&gt;
&lt;br /&gt;
Chinese Button Knot 纽扣结&lt;br /&gt;
&lt;br /&gt;
Sauvastika Knot 万字结&lt;br /&gt;
&lt;br /&gt;
Oxalis Knot 酢浆草结&lt;br /&gt;
&lt;br /&gt;
Pan Chang Knot 盘长结&lt;br /&gt;
&lt;br /&gt;
Round Brocade Knot 团锦结&lt;br /&gt;
&lt;br /&gt;
Caisson Celling Knot 藻井结&lt;br /&gt;
&lt;br /&gt;
Cross Knot 十字结&lt;br /&gt;
&lt;br /&gt;
Ping Knot 平结&lt;br /&gt;
&lt;br /&gt;
tie the knot 永结同心&lt;br /&gt;
&lt;br /&gt;
luck money 压岁钱&lt;br /&gt;
&lt;br /&gt;
the bishop's identity 主教职权&lt;br /&gt;
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===C. Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the Chinese knot?&lt;br /&gt;
&lt;br /&gt;
2. Do you know the names of the main Chinese knots? What are they?&lt;br /&gt;
&lt;br /&gt;
3. What do &amp;quot;绳&amp;quot; and &amp;quot;结&amp;quot; mean in Chinese culture?--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:04, 30 November 2020 (UTC)&lt;br /&gt;
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==Guirou, Barthelemy==&lt;br /&gt;
&lt;br /&gt;
===Chinese Mythology===&lt;br /&gt;
&lt;br /&gt;
=== 1. Introduction===&lt;br /&gt;
&lt;br /&gt;
The Chinese’s life is full of mythological history about religious, history, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, force and weak and so forth. Panku is an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology. In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.&lt;br /&gt;
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===1.1 Panku Creates the World===&lt;br /&gt;
&lt;br /&gt;
In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku.&lt;br /&gt;
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===1.2 Nü Wa Created Human Beings===&lt;br /&gt;
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===1.3 Fushi Taught the People=== &lt;br /&gt;
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===1.4 Yu Rebuilt the Earth====&lt;br /&gt;
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===2.Terms and Expressions===&lt;br /&gt;
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===3. Questions===&lt;br /&gt;
&lt;br /&gt;
Why was an egg a good symbol for the beginning of the world?&lt;br /&gt;
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===References===&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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===Chinese gods and immortals===&lt;br /&gt;
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====A. Chinese mythology system====&lt;br /&gt;
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Chinese mythology is mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices.&lt;br /&gt;
&lt;br /&gt;
Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, the ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology have its own system; Buddhist mythology originated from India.&lt;br /&gt;
&lt;br /&gt;
The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in the history, not even being an integrate system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Sparating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters).&lt;br /&gt;
&lt;br /&gt;
Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the &amp;quot;Way&amp;quot; rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their books and give most of them official post, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, god of happiness, Luxing, Firmness Star, god of firmness and success in life and examinations, and Shòuxing , Longevity Star, who stands for a healthy and long life.&lt;br /&gt;
&lt;br /&gt;
At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quit differences according to the level of their Buddhist understanding and practice. The one with highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin, is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the &amp;quot;most widely beloved Buddhist Divinity&amp;quot;with miraculous powers to assist all those who pray to her.&lt;br /&gt;
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====B. 神 shén, 帝 dì and 仙 xiān====&lt;br /&gt;
&lt;br /&gt;
Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &amp;quot;god&amp;quot; and &amp;quot;deity&amp;quot;. dì, sometimes translated as &amp;quot;thearch&amp;quot;, implies a manifested or incarnate &amp;quot;godly&amp;quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of &amp;quot;hero&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
There is another difference between Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.&lt;br /&gt;
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====C. Eight immortals====&lt;br /&gt;
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The Eight Immortals are a group of legendary xian (&amp;quot;immortals&amp;quot;) in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the &amp;quot;Covert Eight Immortals&amp;quot;. Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai.&lt;br /&gt;
&lt;br /&gt;
The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble . Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the normal scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming, like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. &lt;br /&gt;
&lt;br /&gt;
The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- &amp;quot;The Eight Immortals cross the sea, each reveals its divine powers&amp;quot; (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.&lt;br /&gt;
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====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
immortals 仙              &lt;br /&gt;
&lt;br /&gt;
mythology 神话，神话学&lt;br /&gt;
&lt;br /&gt;
cosmology 宇宙论，宇宙观    &lt;br /&gt;
&lt;br /&gt;
monolithic 整体（式）的&lt;br /&gt;
&lt;br /&gt;
the Battle of Zhuolu 涿鹿之战&lt;br /&gt;
&lt;br /&gt;
pantheistic 泛神论的       &lt;br /&gt;
&lt;br /&gt;
polytheistic 多神论的&lt;br /&gt;
&lt;br /&gt;
anthropomorphic 人格化的&lt;br /&gt;
&lt;br /&gt;
tutelary 守护神            &lt;br /&gt;
&lt;br /&gt;
deity 神&lt;br /&gt;
&lt;br /&gt;
Buddha 佛                 &lt;br /&gt;
&lt;br /&gt;
Shakyamuni 释迦牟尼&lt;br /&gt;
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Amitabha 阿弥陀佛         &lt;br /&gt;
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Amitāyus 无量寿佛&lt;br /&gt;
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celestial 天的            &lt;br /&gt;
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Bodhisattva 菩萨          &lt;br /&gt;
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Pure Land 极乐世界         &lt;br /&gt;
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vessels 法器&lt;br /&gt;
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Covert Eight Immortals 暗八仙    &lt;br /&gt;
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Taoist 道家的，道士&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1. What are the categories of Chinese mythology? What are they?&lt;br /&gt;
&lt;br /&gt;
2. What are the topics of the Ancient mythology?&lt;br /&gt;
&lt;br /&gt;
3. What are the differences amang shén, dì and xiān?&lt;br /&gt;
&lt;br /&gt;
4. What do the Eight immortals represent respectively?&lt;br /&gt;
&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
&lt;br /&gt;
===Classical Prose Movement of late Tang dynasty and Song dynasty===&lt;br /&gt;
&lt;br /&gt;
====Definition====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of late Tang dynasty and Song dynasty in China, also known as the &amp;quot;Classical Prose Movement&amp;quot;, is a movement with the style reform as its surface and Confucianism Renaissance as its core. The word “Gu Wen” was first introduced by Han Yu, it indicates the prose of the pre-Qin period and of Han dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from Han dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they could revive the Confucianism and promote their political thoughts. This movement tended to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct.&lt;br /&gt;
&lt;br /&gt;
====Development====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement went through three stages. The first promoters of this movement were Han Yu and Liu Zongyuan who were not only great writers but also great theorists, forming the foundation of it. Both were enthusiastic to promote the movement and were keen to teach young people so that it could achieve further development and then revive the Confucianism. &lt;br /&gt;
&lt;br /&gt;
However, after the deaths of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. &lt;br /&gt;
&lt;br /&gt;
After that, Ouyang Xiu once again advocated the classical prose in the Song dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang dynasty and the Song dynasty.&lt;br /&gt;
&lt;br /&gt;
====Representatives====&lt;br /&gt;
&lt;br /&gt;
'''1.Han Yu'''&lt;br /&gt;
&lt;br /&gt;
Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who significantly influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming dynasty scholar Mao Kun ranked him first in the &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot;，and Su Shi, another famous poet, once praised that “His prose reversed the literary decline of eight dynasties”. &lt;br /&gt;
&lt;br /&gt;
Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 prosses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive pross is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education.&lt;br /&gt;
&lt;br /&gt;
'''2.Liu Zongyuan'''&lt;br /&gt;
&lt;br /&gt;
Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been classed as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is ''Jiangxue''.&lt;br /&gt;
&lt;br /&gt;
'''3.Ouyang Xiu'''&lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. &lt;br /&gt;
&lt;br /&gt;
Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the ''shi'' and ''ci'' genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. Together with Han Yu, Liu Zongyuan and Su Shi, Ouyang Xiu was considered to be one of the Article four all through the ages.&lt;br /&gt;
&lt;br /&gt;
Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Pross Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties.&lt;br /&gt;
&lt;br /&gt;
====Masterworks====&lt;br /&gt;
&lt;br /&gt;
Under the influence of the Classical Prose Movement of the late Tang dynasty and the Song dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement.&lt;br /&gt;
&lt;br /&gt;
====Influence====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang dynasty and the Song dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming dynasty and Tong Cheng school in the Qing dynasty. Besides that, it also helped to lay a solid foundation of pross in China, and acted as a fine example for later scholars.&lt;br /&gt;
&lt;br /&gt;
====Terms and Expressions====&lt;br /&gt;
&lt;br /&gt;
The Classical Prose Movement of the late Tang dynasty and the Song dynasty 唐宋八大家&lt;br /&gt;
&lt;br /&gt;
Classical Pross Movement 古文运动&lt;br /&gt;
&lt;br /&gt;
''Eight Records of Excursions in Yongzhou'' 《永州八记》&lt;br /&gt;
&lt;br /&gt;
''On Teachers'' 《师说》&lt;br /&gt;
&lt;br /&gt;
A teacher is one who passes on the truth, imparts knowledge and solves puzzles. 师者，所以传道授业解惑也。&lt;br /&gt;
&lt;br /&gt;
''New Book of Tang'' 《新唐书》&lt;br /&gt;
&lt;br /&gt;
''Historical Records of the Five Dynasties'' 《新五代史》&lt;br /&gt;
&lt;br /&gt;
''Zuiweng Tingji'' 《醉翁亭记》&lt;br /&gt;
&lt;br /&gt;
The Old Toper cares not for the wine, his interest lies in the landscape. 醉翁之意不在酒，在乎山水之间也。&lt;br /&gt;
&lt;br /&gt;
''Shang Zhongyong'' 《伤仲永》&lt;br /&gt;
&lt;br /&gt;
''On Jia Yi'' 《贾谊论》&lt;br /&gt;
&lt;br /&gt;
''First Ode to the Red Cliff'' 《赤壁赋》&lt;br /&gt;
&lt;br /&gt;
====Questions====&lt;br /&gt;
&lt;br /&gt;
1.Who was the first promoter of Classical Prose Movement?&lt;br /&gt;
&lt;br /&gt;
2.What does the Classical Prose Movement mean?&lt;br /&gt;
&lt;br /&gt;
3.When was the term &amp;quot;Eight Great Prose Masters of the Tang and Song&amp;quot; first brought up?&lt;br /&gt;
&lt;br /&gt;
==Ha, Thi Thu Hang==&lt;br /&gt;
&lt;br /&gt;
The culture of Red envelope and Lucky money--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 09:02, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The tradition of Red envelope and Lucky money--[[User:Root|Root]] ([[User talk:Root|talk]]) 08:04, 23 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The Chinese Red Envelope and Lucky money tradition===&lt;br /&gt;
In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.&lt;br /&gt;
&lt;br /&gt;
===Vocabulary List===&lt;br /&gt;
利市 /Lì shì/&lt;br /&gt;
&lt;br /&gt;
紅包 /Hóngbāo/&lt;br /&gt;
&lt;br /&gt;
Confucianism 儒教 /Rújiào/ &lt;br /&gt;
&lt;br /&gt;
Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1. Do you know the origin of giving Lunar new year lucky money to children and the elderly？&lt;br /&gt;
&lt;br /&gt;
==He Changqi 何长琦==&lt;br /&gt;
==='''The Twenty-four Solar Terms'''===&lt;br /&gt;
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===17.1 The orgin and development of the twenty-four solar terms===&lt;br /&gt;
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“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.[[1]]&lt;br /&gt;
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===17.2 The definition and classification of the twenty-four solar terms===&lt;br /&gt;
&lt;br /&gt;
“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (术语)&lt;br /&gt;
A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.&lt;br /&gt;
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===17.3 The conventions in different solar terms===&lt;br /&gt;
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===17.4 Importance and values===&lt;br /&gt;
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===17.4.1 Importance in ancient times===&lt;br /&gt;
&lt;br /&gt;
The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. The 24 solar terms have played an  important role in the life and work of traditional Chinese people.&lt;br /&gt;
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of  the agricultural production is to keep track of the agricultural time, which means that &amp;quot;if the agricultural time is not violated, there will be sufficient grain supply.&amp;quot; (Mencius - Liang Huiwang). Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and  an important manifestation and part of their colourful lives. For example, the &amp;quot;Four Beginnings&amp;quot;(四立), that is, the Beginning of Spring, Beginning of Summer, Beginning of Autumn,  Beginning of Winter , have always been important festivals in history. At the time of these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival, which is also known as China's four traditional festivals, along with Spring Festival, Dragon Boat Festival and Mid-Autumn Festival.&lt;br /&gt;
&lt;br /&gt;
===17.4.2 Values in modern society===&lt;br /&gt;
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. It still has its practical values in modern society.&lt;br /&gt;
Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has  profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture. Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and reflect the harmonious relationship between man and nature. Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.&lt;br /&gt;
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===Vocabulary List===&lt;br /&gt;
&lt;br /&gt;
the Beginning of Spring	立春&lt;br /&gt;
 	&lt;br /&gt;
Beginning of Autumn 立秋&lt;br /&gt;
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Rain Water 雨水 &lt;br /&gt;
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End of Heat 处暑&lt;br /&gt;
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Insects Awakening 惊蛰 	&lt;br /&gt;
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White Dew 白露&lt;br /&gt;
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Spring Equinox 春分 &lt;br /&gt;
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Autumnal Equinox 秋分&lt;br /&gt;
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Fresh Green 清明 &lt;br /&gt;
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Cold Dew 寒露&lt;br /&gt;
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Grain Rain 谷雨	&lt;br /&gt;
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First Frost 霜降 &lt;br /&gt;
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Beginning of Summer 立夏 &lt;br /&gt;
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Beginning of Winter 立冬&lt;br /&gt;
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Lesser Fullness	小满 	&lt;br /&gt;
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Light Snow 小雪&lt;br /&gt;
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Grain in Ear 芒种	&lt;br /&gt;
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Heavy Snow 大雪&lt;br /&gt;
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Summer Solstice	夏至&lt;br /&gt;
 	&lt;br /&gt;
Winter Solstice	冬至&lt;br /&gt;
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Lesser Heat 大暑&lt;br /&gt;
 	&lt;br /&gt;
Lesser Cold 小寒&lt;br /&gt;
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Greater Heat 立春 &lt;br /&gt;
	&lt;br /&gt;
Greater Cold 大寒&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
References:[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 10:11, 20 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
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===Collection of Yue Fu Poetry《乐府诗集》===&lt;br /&gt;
&lt;br /&gt;
====Introduction====&lt;br /&gt;
&lt;br /&gt;
'''1.Brief introduction'''&lt;br /&gt;
&lt;br /&gt;
''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Yuefu&amp;quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.&lt;br /&gt;
&lt;br /&gt;
'''2.About the author'''&lt;br /&gt;
&lt;br /&gt;
Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.&lt;br /&gt;
&lt;br /&gt;
'''3.Content introduction'''&lt;br /&gt;
&lt;br /&gt;
It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &amp;quot;Yuefu Poetry Collection&amp;quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.&lt;br /&gt;
&lt;br /&gt;
====Masterpieces====&lt;br /&gt;
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'''1.''The Peacock Flies to Southeast'''''&lt;br /&gt;
&lt;br /&gt;
''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. &lt;br /&gt;
&lt;br /&gt;
It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.&lt;br /&gt;
&lt;br /&gt;
As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.&lt;br /&gt;
&lt;br /&gt;
'''2.''Mulan Poetry'''''&lt;br /&gt;
&lt;br /&gt;
''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &amp;quot;Mulan is a girl&amp;quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.&lt;br /&gt;
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====Evaluation====&lt;br /&gt;
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'''1.Contributions'''&lt;br /&gt;
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The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &amp;quot;Moshangsang&amp;quot;, &amp;quot;dongmenxing&amp;quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.&lt;br /&gt;
&lt;br /&gt;
There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.&lt;br /&gt;
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'''2.Shortcomings'''&lt;br /&gt;
&lt;br /&gt;
There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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===A. Eight Major Cuisines of China===&lt;br /&gt;
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====1.A Brief Introduction About Chinese Cuisine====&lt;br /&gt;
As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the &amp;quot;four major cuisines.&amp;quot; By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the &amp;quot;eight major cuisines&amp;quot; of traditional Chinese cuisine.&lt;br /&gt;
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====2.The Classification of Chinese Cuisines====&lt;br /&gt;
      &lt;br /&gt;
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavor. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted around.&lt;br /&gt;
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=====2.1Shandong Cuisine=====&lt;br /&gt;
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. &lt;br /&gt;
=====2.2Sichuan Cuisine=====&lt;br /&gt;
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one &lt;br /&gt;
of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu.&lt;br /&gt;
=====2.3Guangdong Cuisine=====&lt;br /&gt;
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative     dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables. Many vegetables originate from other parts of the world. It doesn't use much spice, bringing out the natural flavor of the vegetables and meats. &lt;br /&gt;
=====2.4Fujian Cuisine=====&lt;br /&gt;
Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct features are their &amp;quot;pickled taste&amp;quot;. &lt;br /&gt;
=====2.5Jiangsu Cuisine=====&lt;br /&gt;
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh and sweet and with delicate elegance. Jiangsu Cuisine is well known for its careful selection of ingredients, its meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. &lt;br /&gt;
=====2.6Zhejiang Cuisine=====&lt;br /&gt;
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. Hangzhou Cuisine is the most famous one among the three. &lt;br /&gt;
=====2.7Hunan Cuisine=====&lt;br /&gt;
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division.&lt;br /&gt;
=====2.8Anhui Cuisine=====&lt;br /&gt;
Anhui Cuisine focuses much more attention on the temperature in cooking. Its major cooking method are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes.&lt;br /&gt;
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====3.A Comparison of Chinese-Western Diet Culture====&lt;br /&gt;
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Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. There are many differences between Chinese and Western food under the two different cultural backgrounds.&lt;br /&gt;
Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China, but it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in &amp;quot;hard dishes&amp;quot; such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. There are also differences in names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods.&lt;br /&gt;
====References====&lt;br /&gt;
1. 毕继万. 跨文化非语言交际. 北京：外语教学与研究出版社[M], 1999.&lt;br /&gt;
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2. 蔡华. 试论中西饮食文化的差异. 邵阳学院学报[J]，2007.&lt;br /&gt;
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3. 杜学增. 中英文化习俗比较. 北京：外语教学与研究出版社[M],1999.&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
pot-stewed fowl 卤味&lt;br /&gt;
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stewing and simmering炖，煨&lt;br /&gt;
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prickly ash 花椒&lt;br /&gt;
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fermented soybean豆鼓&lt;br /&gt;
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Braised Dongpo Pork东坡肉&lt;br /&gt;
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Buddha Jumps over the Wall 佛跳墙&lt;br /&gt;
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Kung Pao Chicken 宫保鸡丁&lt;br /&gt;
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Bean Sauce Tofu麻婆豆腐&lt;br /&gt;
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===C. Questions===&lt;br /&gt;
How many types of cuisines are there in china?&lt;br /&gt;
&lt;br /&gt;
What’s differences between Chinese and western diets?&lt;br /&gt;
&lt;br /&gt;
What is the origin of Dongpo Meat?&lt;br /&gt;
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== Eight major cuisines of China ==&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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Chinese Paper Cutting 剪纸&lt;br /&gt;
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Text&lt;br /&gt;
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Terms and Expressions&lt;br /&gt;
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Questions&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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===A. Chinese Medical Sage- Zhang Zhongjing===&lt;br /&gt;
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Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 215 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. &lt;br /&gt;
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Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book Treatise on Febrile and Miscellaneous Diseases, which established the treatment based on syndrome differentiation of six classics, and became a necessary classic for the study of Chinese medicine in later generations.&lt;br /&gt;
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This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes.&lt;br /&gt;
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Later, people called the doctor who sat in the drugstore to treat patients &amp;quot;the doctor sitting in the hall&amp;quot;, in memory of Zhang Zhongjing. &lt;br /&gt;
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When talking about Zhang Zhongjing, We have to mention his masterpiece Treatise on Febrile and Miscellaneous Diseases, which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lifting common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished.&lt;br /&gt;
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There is a Chinese saying that goes, &amp;quot; Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms).&amp;quot; But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it.&lt;br /&gt;
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When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears.&lt;br /&gt;
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Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called &amp;quot; Cold Dispelling Jiaoer Soup&amp;quot;. Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured.&lt;br /&gt;
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Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved.&lt;br /&gt;
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In fact, the way of making &amp;quot;Cold Dispelling Jiaoer Soup&amp;quot; is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it &amp;quot;Jiao Er&amp;quot;. ( Er means eears in Chinese)&lt;br /&gt;
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There are also a Nanyang folk songs about Jiaoer, saying &amp;quot; not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold.&amp;quot;&lt;br /&gt;
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At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine.&lt;br /&gt;
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===B. Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
medical sage 医圣&lt;br /&gt;
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Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》&lt;br /&gt;
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treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治&lt;br /&gt;
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yamen 衙门&lt;br /&gt;
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Great Cold ( 24th solar term ) 大寒&lt;br /&gt;
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Slight Cold ( 23rd solar term ) 小寒&lt;br /&gt;
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look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切&lt;br /&gt;
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Cold Dispelling Jiaoer Soup 祛寒娇耳汤&lt;br /&gt;
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===C. Questions===&lt;br /&gt;
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1. What's the honorable title Zhang Zhongjing addressed as?&lt;br /&gt;
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2.What's the official role Zhang once taken?&lt;br /&gt;
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3.When would Zhang treat patients for free at yamen?&lt;br /&gt;
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4.What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?&lt;br /&gt;
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5.What's the relationship between Zhang Zhongjing and dumplings?--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:53, 2 December 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
===Chinese Red Culture===&lt;br /&gt;
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.&lt;br /&gt;
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'''1. Development'''&lt;br /&gt;
&lt;br /&gt;
China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.&lt;br /&gt;
&lt;br /&gt;
Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.&lt;br /&gt;
&lt;br /&gt;
First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.&lt;br /&gt;
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'''2. Symbols'''&lt;br /&gt;
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The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &amp;quot;favorite color&amp;quot; in his early years, he clearly answered &amp;quot;red&amp;quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.&lt;br /&gt;
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'''3. Values'''&lt;br /&gt;
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Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.&lt;br /&gt;
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'''4. Red Culture in Nanchang'''&lt;br /&gt;
&lt;br /&gt;
Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. &lt;br /&gt;
Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &amp;quot;Bayi History and Culture&amp;quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.&lt;br /&gt;
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===Vocabulary List===&lt;br /&gt;
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red culture 红色文化&lt;br /&gt;
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Opium War 鸦片战争&lt;br /&gt;
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red heading documents 红头文件&lt;br /&gt;
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red army 红军&lt;br /&gt;
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August 1st uprising 八一起义&lt;br /&gt;
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===Questions===&lt;br /&gt;
&lt;br /&gt;
1. What is the historical background of the birth of red culture?&lt;br /&gt;
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2. What are two major components of red culture?&lt;br /&gt;
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3. How many symbols dose the word &amp;quot;red&amp;quot; in red culture has? What are they?&lt;br /&gt;
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4. How many values dose red culture has? What are they?&lt;br /&gt;
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5. What is the landmark in Bayi Square?&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
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===The Ancient Tea Horse Road===&lt;br /&gt;
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====Introduction====&lt;br /&gt;
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.&lt;br /&gt;
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====Historical Routes====&lt;br /&gt;
China’s ancient tea horse road  is divided into:&lt;br /&gt;
1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.&lt;br /&gt;
2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.&lt;br /&gt;
3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.&lt;br /&gt;
4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.&lt;br /&gt;
There are three main routes of the ancient tea-horse road: the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.&lt;br /&gt;
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====Historical Value====&lt;br /&gt;
The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.&lt;br /&gt;
1.The Golden Road of Tourism&lt;br /&gt;
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.&lt;br /&gt;
2. Ancient Roads for the Propagation of Civilization&lt;br /&gt;
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.&lt;br /&gt;
3.Migration Corridor of National Cultures&lt;br /&gt;
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.&lt;br /&gt;
4.Religious Propagation Road&lt;br /&gt;
With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.&lt;br /&gt;
5. The Path of National Spirituality&lt;br /&gt;
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.&lt;br /&gt;
6.The Road of National Unity and Integration&lt;br /&gt;
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.&lt;br /&gt;
7.The Road of Securing the Borders&lt;br /&gt;
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.&lt;br /&gt;
8.the road to economic development&lt;br /&gt;
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)&lt;br /&gt;
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===Vocabulary List===&lt;br /&gt;
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1.The Ancient Tea Horse Road(茶马古道)&lt;br /&gt;
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2.Sichuan-Tibet Line（川藏线）&lt;br /&gt;
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3.Yunnan-Tibet line（滇藏线）&lt;br /&gt;
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4.wade ancient road（蹚古道）&lt;br /&gt;
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===Questions===&lt;br /&gt;
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1.What is  the ancient tea horse road ?&lt;br /&gt;
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2.What do you know about the history of the ancient tea horse road?&lt;br /&gt;
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3.How many main routes  does the ancient tea-horse road conclude?&lt;br /&gt;
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4.What is the historical value?&lt;br /&gt;
--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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===Four satirical novels in ancient China===&lt;br /&gt;
As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &amp;quot;Four Major denunciation novels&amp;quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.&lt;br /&gt;
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'''1. Four satirical novels in ancient China'''&lt;br /&gt;
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'''2. Nie Hai Hua'''&lt;br /&gt;
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'''3. the Travels of an Old Man'''&lt;br /&gt;
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'''4. The Records of Officialdom Exposure'''&lt;br /&gt;
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'''5. 20 years witness strange present situation'''&lt;br /&gt;
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'''6. Conclution'''&lt;br /&gt;
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===Vocabulary List===&lt;br /&gt;
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===Questions===&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
===Shadow Puppets===&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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=== Confucian Culture ===&lt;br /&gt;
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==== Introduction ====&lt;br /&gt;
Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. &lt;br /&gt;
Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &amp;quot;banishing other schools of thought and worshiping Confucianism only&amp;quot; and imposed restrictions on thought, which led to the revival of Confucian school. The concepts of &amp;quot;Confucian school&amp;quot;, &amp;quot;Confucianism&amp;quot;, and &amp;quot;Confucian Religion&amp;quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion a belief. &lt;br /&gt;
Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Daoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. &lt;br /&gt;
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==== Analysis of Confucian culture ====&lt;br /&gt;
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===== Intelligence development =====&lt;br /&gt;
Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. &lt;br /&gt;
However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. &lt;br /&gt;
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=====Spiritual guidance =====&lt;br /&gt;
In terms of spirit, Confucianism contends that &amp;quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&amp;quot; Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. &lt;br /&gt;
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===== Order construction =====&lt;br /&gt;
In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. &lt;br /&gt;
After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &amp;quot;Loyalty&amp;quot; means that people should stay loyal to the country and people; &amp;quot;Friendliness&amp;quot; and &amp;quot;forgiveness&amp;quot; play an important role in resolving various contradictions and animosities; when it comes to &amp;quot;filial piety&amp;quot; and &amp;quot;propriety&amp;quot;, many redundant forms inherited from feudal society should be eradicated and be more practical.&lt;br /&gt;
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====The contemporary value of Confucian culture ====&lt;br /&gt;
Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society.&lt;br /&gt;
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=====Ideological and political education =====&lt;br /&gt;
Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others.&lt;br /&gt;
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===== Modern economic construction=====&lt;br /&gt;
Under today’s circumstance, some ideological contents are still alive and produce  positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people.&lt;br /&gt;
First of all, Confucian culture emphasizes the thought of &amp;quot;benevolence&amp;quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &amp;quot;Everyone being responsible for the fate of his country&amp;quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.&lt;br /&gt;
Second, the consciousness of &amp;quot;self-improvement&amp;quot; and the proposition of &amp;quot;seeking truth&amp;quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. Yi Zhuan put forward: &amp;quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &amp;quot;seeking truth&amp;quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.&lt;br /&gt;
Third, the &amp;quot;reform and innovation&amp;quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &amp;quot;innovation idea&amp;quot;. The Book of Rites said, &amp;quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&amp;quot; The Book of Changes said, &amp;quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.&lt;br /&gt;
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===== Legal construction =====&lt;br /&gt;
Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. &lt;br /&gt;
The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &amp;quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&amp;quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. &lt;br /&gt;
How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &amp;quot;benevolence&amp;quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &amp;quot;Sages believe that national governance must combine the rule of virtue and law.&amp;quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.&lt;br /&gt;
In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China.&lt;br /&gt;
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====The Confucius institute ====&lt;br /&gt;
With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. Fundamentally speaking, its is conducive to the &amp;quot;going out&amp;quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.&lt;br /&gt;
The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture.&lt;br /&gt;
The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture.&lt;br /&gt;
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====Terms and expressions ====&lt;br /&gt;
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儒家Confucian school&lt;br /&gt;
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儒学Confucianism&lt;br /&gt;
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儒教Confucian religion &lt;br /&gt;
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兼爱 Universal love&lt;br /&gt;
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恕、忠、孝、悌、勇forgiveness, loyalty, filial piety, brotherhood, courage&lt;br /&gt;
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仁、义、礼、智、信benevolence, righteousness, propriety, wisdom and faith&lt;br /&gt;
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学而优则仕 A good scholar will make an official&lt;br /&gt;
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四书五经  the Four Books and Five Classics&lt;br /&gt;
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天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&lt;br /&gt;
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天下兴亡，匹夫有责 Everyone being responsible for the fate of his country&lt;br /&gt;
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====Questions ====&lt;br /&gt;
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What’s the central ideas of Confucian culture?&lt;br /&gt;
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What’s the difference among Confucian school, Confucianism and Confucian religion?&lt;br /&gt;
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What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?&lt;br /&gt;
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What’s the Six Classical Arts?&lt;br /&gt;
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What you think of the ancient influence of Confucian culture?&lt;br /&gt;
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Do you think Confucian culture still has its contemporary values in China? And why?&lt;br /&gt;
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What do you think of the current situation of the development of the Confucian institute?&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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'''Ch'ien Chung-shu'''&lt;br /&gt;
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Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &amp;quot;South Rao and North Qian&amp;quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.&lt;br /&gt;
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As a realistic satirical novel, ''Fortress Besieged'' is known as &amp;quot;The New Scholars&amp;quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &amp;quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &amp;quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &amp;quot;hairless and two-legged animals&amp;quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &amp;quot;latest style&amp;quot; literati. Yang Jiang said, &amp;quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &amp;quot;The meaning of &amp;quot;fortress besieged&amp;quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.&lt;br /&gt;
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Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947).  Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.&lt;br /&gt;
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Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.&lt;br /&gt;
&lt;br /&gt;
November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.&lt;br /&gt;
&lt;br /&gt;
'''Terms and Expressions'''&lt;br /&gt;
&lt;br /&gt;
''China in the English Literature of the Seventeenth and Eighteenth centuries''     《十七十八世纪英国文学中的中国》&lt;br /&gt;
&lt;br /&gt;
''Fortress Besieged''          《围城》&lt;br /&gt;
&lt;br /&gt;
Kuomintang-controlled areas          国统区&lt;br /&gt;
&lt;br /&gt;
''Written in the Margins of Life''          《写在人生边上》&lt;br /&gt;
 &lt;br /&gt;
''Humans·Beasts·Ghosts''          《人·兽·鬼》&lt;br /&gt;
&lt;br /&gt;
''Limited Views:Essays on Ideas and Letters''          《管锥编》&lt;br /&gt;
&lt;br /&gt;
''Patchwork:Essays on Art and Literature''          《谈艺录》&lt;br /&gt;
&lt;br /&gt;
the 110th anniversary of the birth of Ch'ien Chung-shu          钱钟书诞辰110周年纪念日&lt;br /&gt;
&lt;br /&gt;
''Academic Life of Qian Zhongshu ''          《钱钟书的学术人生》&lt;br /&gt;
&lt;br /&gt;
'''Questions'''&lt;br /&gt;
&lt;br /&gt;
1.What is Ch'ien Chung-shu's representative work? When was it published?&lt;br /&gt;
&lt;br /&gt;
Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.&lt;br /&gt;
&lt;br /&gt;
2.When was the TV series ''Fortress Besieged'' broadcast?&lt;br /&gt;
&lt;br /&gt;
It was broadcast in December 1990.&lt;br /&gt;
&lt;br /&gt;
3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?&lt;br /&gt;
&lt;br /&gt;
''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.&lt;br /&gt;
&lt;br /&gt;
4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?&lt;br /&gt;
&lt;br /&gt;
Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.&lt;br /&gt;
&lt;br /&gt;
5.Which sentence is your favoriate in ''Fortress Besieged''? &lt;br /&gt;
&lt;br /&gt;
&amp;quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&amp;quot;   &lt;br /&gt;
--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:19, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
&lt;br /&gt;
===相声 Cross Talk===&lt;br /&gt;
&lt;br /&gt;
===The History of Cross Talk===&lt;br /&gt;
&lt;br /&gt;
Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Famous Artists of Cross Talk===&lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)&lt;br /&gt;
===GO===&lt;br /&gt;
Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.&lt;br /&gt;
A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.&lt;br /&gt;
&lt;br /&gt;
The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &amp;quot;life status&amp;quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &amp;quot;shape&amp;quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.&lt;br /&gt;
&lt;br /&gt;
Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.&lt;br /&gt;
&lt;br /&gt;
In the opening stages of the game, players typically establish positions (or &amp;quot;bases&amp;quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &amp;quot;joseki&amp;quot; and are often studied independently.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Dame&amp;quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &amp;quot;Seki&amp;quot; are mutually alive pairs of white and black groups where neither has two eyes. A &amp;quot;ko&amp;quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &amp;quot;taken back&amp;quot; and returned to its original position.[30] Some &amp;quot;ko fights&amp;quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &amp;quot;picnic kos&amp;quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. &lt;br /&gt;
&lt;br /&gt;
Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.&lt;br /&gt;
&lt;br /&gt;
Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:&lt;br /&gt;
•	Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &amp;quot;point&amp;quot; (an intersection, called a &amp;quot;liberty&amp;quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&amp;quot;liberty&amp;quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.&lt;br /&gt;
•	Rule 2 (the &amp;quot;ko rule&amp;quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.&lt;br /&gt;
Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.&lt;br /&gt;
Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.&lt;br /&gt;
&lt;br /&gt;
Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent  are commonly called by their Japanese names.&lt;br /&gt;
&lt;br /&gt;
The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
Go	围棋	                heuristic	启发式的&lt;br /&gt;
adversarial game 对抗性游戏	intersection	交叉点&lt;br /&gt;
board	棋盘	                black	黑棋&lt;br /&gt;
formation	阵型	        white	白棋&lt;br /&gt;
move	走棋	                scoring rule	计分规则&lt;br /&gt;
liberty	自由度	                player	棋手&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1, What’s the basic principle of Go?&lt;br /&gt;
A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.&lt;br /&gt;
&lt;br /&gt;
2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？&lt;br /&gt;
The rule of liberty and  the &amp;quot;ko rule&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
3, What countries have the most notable scoring rules differences?&lt;br /&gt;
Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:14, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
The four most handsome men in ancient China&lt;br /&gt;
&lt;br /&gt;
==Lo, Minh Thao==&lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
&lt;br /&gt;
The Four Grottoes of China--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:23, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
&lt;br /&gt;
'''Civil Service Examination System'''&lt;br /&gt;
&lt;br /&gt;
--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 08:27, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
&lt;br /&gt;
'''The Forbidden City'''--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''I.Introduction'''&lt;br /&gt;
The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.&lt;br /&gt;
The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
&lt;br /&gt;
'''Chinese Marriage Customs'''--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:24, 2 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
China is an ancient country of rites. When it comes to the most important thing  in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China need to be approved by parents and arranged by parents .&lt;br /&gt;
&lt;br /&gt;
'''A.Six Procedures'''&lt;br /&gt;
&lt;br /&gt;
There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl,firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides,mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.&lt;br /&gt;
&lt;br /&gt;
'''B.Customs'''&lt;br /&gt;
&lt;br /&gt;
In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. As a result, newlyweds could only see each other until the day of marriage. On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride.&lt;br /&gt;
&lt;br /&gt;
'''C.Development'''&lt;br /&gt;
&lt;br /&gt;
==Ngo, Thi Minh Huong==&lt;br /&gt;
&lt;br /&gt;
'''Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam'''&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
&lt;br /&gt;
'''Twelve Animals of the Chinese Zodiac''' --Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
'''A.Origin'''&lt;br /&gt;
&lt;br /&gt;
'''B.Development'''&lt;br /&gt;
&lt;br /&gt;
'''C.Influence'''&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
Green Tea--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[File:Example.jpg|400px|thumb|left|Diagram.]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Chinese Traditional clothing Phyo Su Kyi talk 5-11-202&lt;br /&gt;
&lt;br /&gt;
==Phyo, Su Kyi==&lt;br /&gt;
Chinese Traditional clothing&lt;br /&gt;
&lt;br /&gt;
 Each country in the world has its own unique traditional clothes, from which people are able to distinguish one country from another, and so it has been with China. The Hanfu, Zhongshan suit (Mao suit), Tang suit, and cheongsam (qipao) are the four most distinctive types of traditional Chinese clothing.&lt;br /&gt;
&lt;br /&gt;
 After falling out of fashion for more than 400 years, a renaissance of Hanfu was called for by many Han ethnic groups as part of a trend that the public should be proud of their Chinese culture. Many supporters believe that wearing Hanfu brings them a strong sense of national identity.&lt;br /&gt;
&lt;br /&gt;
1-History of Chinese clothing&lt;br /&gt;
 History of Chinese Clothing China has many ethnic groups with a long history while &lt;br /&gt;
Han people dominate most periods in history. For thousands of years, generations of clothing &lt;br /&gt;
designers have devoted themselves to building the Kingdom of Clothes, making the garments &lt;br /&gt;
that cover the human body into an important component of Chinese culture. The progress of &lt;br /&gt;
nation can be seen through its changes in clothing styles. Clothing manufacture in China &lt;br /&gt;
dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000-&lt;br /&gt;
year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in &lt;br /&gt;
them attest to the existence of ornamentation and of sewing extremely early in Chinese &lt;br /&gt;
civilization.&lt;br /&gt;
&lt;br /&gt;
A-Chinese Clothing during Qin and Han Dynasties (221 B.C.--220 A.D.)&lt;br /&gt;
 The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as &lt;br /&gt;
well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established &lt;br /&gt;
many social systems, including one for uniforms to distinguish people's ranks and social &lt;br /&gt;
positions. China's complete code of costume and trappings was established in the Han &lt;br /&gt;
Dynasty (206BC-220AD). Theyarn-dyeing, embr-oidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.&lt;br /&gt;
&lt;br /&gt;
B-Chinese Clothing during Wei, Jin, South and North Dynasties (220-589)&lt;br /&gt;
Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and &lt;br /&gt;
Northern dynasties (220-589AD). Before 265, the cultures and esthetic views of the peoples &lt;br /&gt;
in north and south China merged because of the moves initiated by frequent wars. Many &lt;br /&gt;
philosophical schools of thought influenced both people's lives and the conceptions of clothing design.&lt;br /&gt;
&lt;br /&gt;
C-Chinese Clothing during Tang Dynasty (618-907)&lt;br /&gt;
The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. &lt;br /&gt;
People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could &lt;br /&gt;
be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.&lt;br /&gt;
&lt;br /&gt;
D-Chinese Clothing during Song, Yuan, Ming Dynasties&lt;br /&gt;
Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and &lt;br /&gt;
elegant. During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the &lt;br /&gt;
People on Horseback, was in power. The style of clothing was mainly a combination of &lt;br /&gt;
Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in &lt;br /&gt;
design. Dramatic changes took place during the Ming Dynasty (1368-1644). A new &lt;br /&gt;
conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.&lt;br /&gt;
&lt;br /&gt;
E-Chinese Clothing during Qing Dynasty&lt;br /&gt;
During the Qing Dynasty (1644-1911AD), clothes became elegant, poised, and glorious. &lt;br /&gt;
During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such &lt;br /&gt;
as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did &lt;br /&gt;
not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious &lt;br /&gt;
heritage for traditional Chinese clothes.&lt;br /&gt;
&lt;br /&gt;
D-Chinese Clothing from 1930s till Modern Era&lt;br /&gt;
Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to &lt;br /&gt;
1960s, Qipao (Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
历史-history, 期-period, 世代-generations, 服装-clothing, 设计师-designers , 装饰-ornamentation.&lt;br /&gt;
What is Chinese traditional clothing called?&lt;br /&gt;
How long is the history of years clothing manufacture in China?&lt;br /&gt;
Why do Chinese wear Hanfu?&lt;br /&gt;
References-www.topchinatravel.com/china-guide/history of-chinese-clothing.htm&lt;br /&gt;
www.travelchinaguide.com --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:15, 4 December 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
&lt;br /&gt;
==Pingki, Tanchangya==&lt;br /&gt;
Chinese traditional dance--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 02:46, 12 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==Phyo, Su Kyi==&lt;br /&gt;
Chinese  Traditional women clothing&lt;br /&gt;
1- History of Chinese clothing&lt;br /&gt;
 History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.&lt;br /&gt;
A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)&lt;br /&gt;
 The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.&lt;br /&gt;
B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)&lt;br /&gt;
 Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.&lt;br /&gt;
C- Chinese Clothing during Tang Dynasty(618-907)&lt;br /&gt;
 The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.&lt;br /&gt;
D-Chinese Clothing during Song, Yuan, Ming Dynasties&lt;br /&gt;
 Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.&lt;br /&gt;
E- Chinese Clothing during Qing Dynasty&lt;br /&gt;
 During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.&lt;br /&gt;
F-Chinese Clothing from 1930s till Modern Era&lt;br /&gt;
Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. &lt;br /&gt;
Vocabulary &lt;br /&gt;
Questions &lt;br /&gt;
References.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
Chinese wine culture--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:28, 30 November 2020 (UTC)&lt;br /&gt;
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==Rajabov, Anushervon==&lt;br /&gt;
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===China Railway High-Speed ​​(CRH)===&lt;br /&gt;
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China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway.  The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007.  By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km.  (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises.  It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion.  More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. (  220 mph).  The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph)  ).  In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway).  With gradual planning, the CR brand will replace the existing CRH brand in service.  Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h).                                    &lt;br /&gt;
High speed rail network.        &lt;br /&gt;
High speed rail services were first introduced in 2007 on CRH rolling stock.  They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph).                                              &lt;br /&gt;
CRH service on dedicated high-speed lines&lt;br /&gt;
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==Seydou, Sagara==&lt;br /&gt;
My topic: The Chinese language.&lt;br /&gt;
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1 Putonghua and Dialects&lt;br /&gt;
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2 Ancient Chinese and Mordern Chinese &lt;br /&gt;
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3 Idiomatic phrase -Idioms common sayings,and allegorical sayings&lt;br /&gt;
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4 language policy.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 02:24, 20 November 2020 (UTC)&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
The Four Talented Women of Ancient China&lt;br /&gt;
(中国古代四大才女)&lt;br /&gt;
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A.Cai Wenji 蔡文姬&lt;br /&gt;
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B.Zhuo Wenjun 卓文君&lt;br /&gt;
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C.Li Qingzhao 李清照&lt;br /&gt;
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D.Ban Zhao 班昭&lt;br /&gt;
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----&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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Ancient and Contemporary Ways of Contacting--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:27, 22 November 2020 (UTC)&lt;br /&gt;
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1.Sending Messages with Pigeons&lt;br /&gt;
Sending messages ith pigeons is a way of communicating with people in the ancient times. If you want to send letters, you should tie them to the feet of the pigeons and pass them on to the person to the receiver. As it is not convenient to communicate with people, so clever people take advantage of pigeons which fly fast and can recognize the directions. They trained pigeons and improved the speed of delivery. Generally speaking, the birds themselves will find their way home, just as the weary birds returning to their nests. For example, I live near to my friends. Later, when I have to go somewhere else, I will leave my hometown with my pigeons. One day when I have to contact my friend, I would put a note in the the special case, which is tied to the foot of the pigeon. And then I would release the pigeon, which would fly to my hometown.&lt;br /&gt;
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Pigeons are not only very sensitive to the Earth’s magnetic field, but also are particularly homesick, which are their innate strengths. But to be a carrier pigeon, it’s all about training. The basic purpose of raising carrier pigeons is releasing, competing and using. In order to obtain the ideal carrier pigeon, apart from careful breeding and scientific breeding management, the most important thing is training. All the three steps complement each other. The basic principle of training is based on the biological and physiological characteristics of carrier pigeons and the “Classical conditioning” principle. The basic aim of the training is to train, exercise and improve the quality of pigeons, to give full play to their inherent biological characteristics and strengths. The basic contents of training generally include: basic training, release training, competing training, adaptation training and application training. Training should start from young pigeons, from simple tasks to complex ones, from short distance to long distance, from day to night, from basic training to professional training. In  short, training should start from easy to difficult.&lt;br /&gt;
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2.Paper Letters&lt;br /&gt;
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A letter is a document which conveys information, thoughts and feelings to a specific person. The Chinese character “xin” (letter) means messages in ancient Chinese. Also, it means that the messages are credible. In giving oral messages and writing letters delivered by postmen which conveys information, thoughts and feelings to a specific person, one has to have the following abilities. First, he has the ability to tell the whole story in words and express his thoughts and feelings. Two, he has writing tools. Three, he has a postman to help him deliver messages. Writing letters in person to relatives and friends can not only convey one’s thoughts and feelings, but also give the recipient a feeling of “talking to each other face to face” . With the growth of technology, telephone, telegraph, mail tapes, video tapes, e-mail and other means of communication information came. With the development of society, the relationship between people and society is being reconstructed. Apart from  its traditional function, that is, official correspondence and private correspondence, letters are used for a new purpose. There is a surge in letters which are sent to governments, entrepreneurs, famous scholars for private purposes.&lt;br /&gt;
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3.E-mails&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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Five famous mountains.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:00, 9 November 2020 (UTC)&lt;br /&gt;
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1.Mount Song&lt;br /&gt;
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2.Mount Tai &lt;br /&gt;
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3.Mount Hua &lt;br /&gt;
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4.Mount Heng&lt;br /&gt;
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5.Mount Heng&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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===Ancient Education===&lt;br /&gt;
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'''History'''&lt;br /&gt;
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China’s ancient education was one of the most splendid components of ancient Chinese culture. Chinese education had a long history dating from the Xia, Shang and Zhou dynasties 3000/4000 years ago.&lt;br /&gt;
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In the Shang Dynasty (16th-11th century BC), formal schools emerged with the names like “Xiao” (school)，“Xue”(study) and “Daxue”(higher school). Teachers then were all government officials and students were all children of the nobility, so that was the earliest “Guan Xue”(Government School/Education).&lt;br /&gt;
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Education became more popular by the Spring Autumn/Warring States period. Confucius became the earliest founder for “Private Education”. This type of private school education is often known as “Si Xue” (private institution).&lt;br /&gt;
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From Han till Qing Dynasty, the formation of government institution had been well-established. All the teaching materials and educational training were geared towards the preparation for Imperial examination. After receiving a title in the Imperial examination, one might receive a post in the state bureaucracy. At the same time, private schools were also developing. Most of the famous philosophers and scientists were originated from private schools.&lt;br /&gt;
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Apart from schooling, “Family education” began to play an important role. Many of the famous historical figures grew up under the education and strict ‘teaching’ by their parents or other senior family members, and they studied hard in order to become successful. For instance, it was well documented that Mencius’s mother had moved three times with her son before she eventually found a proper neighborhood for the son’s education. After the Han dynasty, because of the increased status of Confucianism and its influence, the teaching of “poetry and rites” became the basic content for family education. Loyalty, Filial Piety, Benevolence and Righteousness were core values taught in family education.&lt;br /&gt;
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In ancient Chinese education, there was another form of education system known as “Xue Shu Jiao Yu”. This belongs to neither an institute education nor a family education. These are generally “primary school for the folks”. Sometimes, they were called “Meng Guan”(primary education hall), “Si Shu ” (private school), “Zu Xue” (extended family school) , etc. Most students will first learn how to read characters, then they will learn The Three Character Classic ”, The Hundred Family Surnames, The Thousand Character Classic. Then they will learn the “Four Books”.  In addition, they will also learn Chinese calligraphy and character pairing. In this type of school, the rules and regulations are especiallystrict.&lt;br /&gt;
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There are other methods such as Shuyuan and Guozijian, etc. They all formed a unique way of knowledge teaching and became important system for the development on “study of knowledge”, “teaching method”, etc. All of these formed the basis for today's Chinese education.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)&lt;br /&gt;
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'''Confucian Educational Theory'''&lt;br /&gt;
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The historical importance of education in Chinese culture is derived from the teachings of Confucius. The connection between Confucius and the official Chinese educational system thus became permanently linked right into the present time. Confucius broke the rule of “Xue Zai Guan Fu”&lt;br /&gt;
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(learning at the government hall. He encouraged “learning for all hierarchical levels and for all ages”, and opened the door of education to the commoners. He established his own school and started to spread his teaching, thoughts and views. He became the earliest founder for “Private Education”.&lt;br /&gt;
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In ancient Chinese education, whether they were government or private school, they all placed a great emphasis on humanities and cultural education, which focused on the teaching of morality and the development of wisdom. It covered philosophy, language, literature and other cultural subjects. The curriculum at the Great Academy was based on the Confucian Five Classics.&lt;br /&gt;
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Confucius taught his students morality, proper speech, government, and the refined arts. While he also emphasized the “Six Arts” — ritual, music, archery , chariot- riding , calligraphy , and computation — it is clear that he regarded morality as the most important subject. Confucius had been regarded as the pioneer founder of family education. According to The Analects of Confucius, Confucius wanted his son to learn both poetry and rites. He said, “if one does not learn poetry, one will not be able to talk properly”, “if one does not learn rites, one will never be well footed in the society.” Other than placing a strong emphasis on morality education, Chinese education also emphasized greatly on learning/teaching method and principles. Below are some common Confucian educational philosophies:&lt;br /&gt;
Revise the old in order to deduce new things.&lt;br /&gt;
Learning and Thinking are equally important. &lt;br /&gt;
Learn in a systematic and progressive way, from a beginner’s level to the advanced.&lt;br /&gt;
Inspiration and Guidance.&lt;br /&gt;
Teach according to students’ ability; use appropriate materials for teaching. &lt;br /&gt;
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Confucius’s goal was to create gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things.	The long The Master said in The Analects that:&lt;br /&gt;
“Is it not delightful to acquire knowledge and put it into practice from time to time？“Learning without thought is labor lost; thought without learning is perilous.” &lt;br /&gt;
Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking. His pedagogical methods were striking. He posed questions, cited passages from the classics, or used apt analogies, and waited for his students to arrive at the right answers. He said, “I only instruct the eager and enlighten the fervent. If I hold up one corner and a student cannot come back to me with the other three, I do not go on with the lesson.” The status of education remained high in Confucian heritage cultures in East Asia. Beyond that, translations of Confucian texts influenced European thinkers of the period as well, particularly among the philosophical groups of the Enlightenment who were interested by the integration of the system of morality of Confucius into Western civilization. The French philosopher Voltaire was also influenced by Confucius, seeing the concept of Confucian rationalism as an alternative to Christian dogma. He praised Confucian ethics and politics, portraying China as a model for Europe.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)&lt;br /&gt;
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'''Chinese Imperial Examination'''&lt;br /&gt;
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The Chinese Imperial Examination was an examination system in Imperial China designed to select talented people for future positions in civil service. This system had a huge influence on both society and culture in Imperial China.  It was established in 605 during the Sui Dynasty and lasted more than 1,300 years until the last examination in 1904 when the last Chinese feudal kingdom—the Qing Dynasty—was coming to an end. Somehow the modern examination system for selecting civil service staff also indirectly evolved from the imperial one. It was part of the process by which candidates who passed the exams could receive a title called jinshi, or some other degree, which in turn would generally be followed by appointments to government offices. The first three of Jinshi were ranked Zhuangyuan, Bangyan and Tanhua respectively. The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree. Each exam taker spent three days and two nights writing “eight-legged essays” — literary compositions with eight distinct sections — in a tiny room with a makeshift bed, a desk, and a bench. There were no interruptions in those three days, nor were candidates’ allowed any communication. Since the pressure to succeed was intense, cheating and corruption were rampant. In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized. In the ancient society, class consciousness was strong and many people from lower classes would have had little chance to reach high office, not to mention having any position in the official court.&lt;br /&gt;
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However, once the imperial examination system was introduced, any male adult in China, regardless of his wealth or social status, could become a high-ranking government official by passing the imperial examination and thus realize their self-development. In this sense, passing the imperial examination was also called “carps jumping across the dragon’s gate” . The dragon had always been regarded as the symbol of mighty power and especially that of the rights exercised by the emperor, consequently the success of examination candidates was proudly called “jumping across the dragon’s gate.” In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites.The examination system also served to maintain cultural  unity and  consensus  on basic  values. The uniformity of  the  content  of  the examinations meant that the local elites and ambitious would-be members of those elites across China were taught with the same values. Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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===Chinese Dining Etiquette===&lt;br /&gt;
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China has an etiquette system encompassing all its ethnic groups, each with a unique culture. Take Luoba nationality for example, before treating guests to dinner, they take a bite first to demonstrate the innocence of their food. In general, Chinese cultural etiquette has evolved largely from the Zhou (1034–221 BC) rituals related to eating.&lt;br /&gt;
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1. Arrival&lt;br /&gt;
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2. Seating Arrangements for a Chinese Banquet&lt;br /&gt;
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3. Eating&lt;br /&gt;
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4. Table Manners&lt;br /&gt;
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5. Rules and Conventions Relating to Chopsticks&lt;br /&gt;
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====Arrival====&lt;br /&gt;
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As a guest at a meal, one should be particular about one’s appearance and determine whether to bring small gifts or good wine, according to the degree of relationship with the master of the banquet. It is important to attend and be punctual.&lt;br /&gt;
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On arrival, one should first introduce oneself, or let the master of the banquet do the introduction if unknown to others, and then take a seat in accordance with the master of the banquet’s arrangement.&lt;br /&gt;
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====Seating Arrangements for a Chinese Banquet====&lt;br /&gt;
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Dining etiquette in ancient times was enacted according to a four-tier social strata: &lt;br /&gt;
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1. the imperial court &lt;br /&gt;
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2. local authorities&lt;br /&gt;
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3. trade associations and &lt;br /&gt;
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4. farmers and workers&lt;br /&gt;
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The respect structure in modern dining etiquette has been simplified to:&lt;br /&gt;
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1. master of the banquet and 2. guests.&lt;br /&gt;
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=====Seat of Honor=====&lt;br /&gt;
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The seat of honor, reserved for the master of the banquet or the guest with the highest status, is the one in the center facing east or facing the entrance. Those of higher position sit closer to the master of the banquet. The guests of the lowest position sit furthest from the seat of honor. When a family holds a banquet, the seat of honor is for the guest with the highest status and the head of the house takes the least prominent seat.&lt;br /&gt;
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If the guest of honor or most senior member is not seated, other people are not allowed to be seated. If he hasn’t eaten, others should not begin to eat. When making toasts, the first toast is made from the seat of honor and continuing down the order of prominence.&lt;br /&gt;
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=====Round Table=====&lt;br /&gt;
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If round tables are used, the seat facing the entrance is the seat of honor. The seats on the left hand side of the seat of honor are second, fourth, sixth, etc in importance, while those on the right are third, fifth, seventh and so on in importance, until they join together.&lt;br /&gt;
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=====Square Table===== &lt;br /&gt;
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In ancient times there was a piece of furniture known as an Eight Immortals table, a big square table with benches for two people on each side. If there was a seat facing the entrance, then the right hand seat when facing the entrance was for the guest of honor. If there was no seat facing the entrance door (presumably if the meal was outside or there were two or more doors of equal importance), then the right hand seat when facing east was the seat of honor. The seats on the left hand side of the seat of honor were, in order of importance, second, fourth, sixth and eighth and those on the right were third, fifth and seventh.&lt;br /&gt;
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=====In Grand Banquet===== &lt;br /&gt;
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In a grand banquet of many tables, the table of honor is the one furthest from the entrance (or facing east in the event of no clear main entrance). The tables on the left hand side of the tables of honor are, in order of importance, second, fourth, sixth and so on, and those on the right are third, fifth and seventh. Guests are seated according to their status and degree of relationship to the master of the banquet.&lt;br /&gt;
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====Eating====&lt;br /&gt;
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When eating a meal in China, people are expected to behave in a civilized manner (according to Chinese customs), pay attention to table manners and practice good dining habits. In order to avoid offense diners should pay attention to the following points:&lt;br /&gt;
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1) Let older people eat first, or if you hear an elder say &amp;quot;let's eat&amp;quot;, you can start to eat. You should not steal a march on the elders.&lt;br /&gt;
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2) You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl and palm empty. If you don’t pick up your bowl, bend over the table, and eat facing your bowl, it will be regarded as bad table manners. Moreover, it will have the consequence of compressing the stomach and restricting digestion.&lt;br /&gt;
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====Chinese Table Manners====&lt;br /&gt;
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Most table manners in China are similar to in the West. Don't be deceived by what you might see in a local restaurant on the streets. Chinese manners don't consist of slurping food down as quickly as possible, and shouting loudly!&lt;br /&gt;
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=====Consider Others===== &lt;br /&gt;
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1) When helping yourself to the dishes, you should take food first from the plates in front of you rather than those in the middle of the table or in front of others. It's bad manners to use your chopsticks to burrow through the food and &amp;quot;dig for treasure&amp;quot; and keep your eyes glued to the plates.&lt;br /&gt;
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2) When finding your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. You should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want any more, then you can eat proceed.&lt;br /&gt;
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3) Concentrate on the meal and your companions. Watching television, using your phone, or carrying on some other activity while having a meal is considered a bad habit.&lt;br /&gt;
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4) You should try to refill your bowl with rice yourself and take the initiative to fill the bowls of elders with rice and food from the dishes. If elders fill your bowl or add food to your bowl, you should express your thanks.&lt;br /&gt;
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=====&amp;quot;Thank you&amp;quot; Gesture===== &lt;br /&gt;
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Tea usually is served as soon as you have a seat in a restaurant. A waiter/waitress serves you tea while you read the menu and decide what to order. The teapot is left with you on the table after everyone around the table's cup is filled with tea. Guests then serve themselves. When someone pours tea into your cup, you can tap the table with your first two fingers two or three times, showing thanks to the pourer for the service and of being enough tea. The pourer will stop pouring when seeing the gesture.&lt;br /&gt;
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=====Elegance===== &lt;br /&gt;
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1) It is not good manners to pick up too much food at a time. You should behave elegantly. When taking food, don’t nudge or push against your neighbor. Don’t let the food splash or let soup or sauce drip onto the table.&lt;br /&gt;
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2) When eating, you should close your mouth to chew food well before you swallow it, which is not only a requirement of etiquette, but also better for digestion. You should by no means open your mouth wide, fill it with large pieces of food and eat up greedily. Don’t put too much food into your mouth at a time to avoid leaving a gluttonous impression. Neither should you stretch your neck, open your mouth wide and extend your tongue to catch food you are lifting to your mouth.&lt;br /&gt;
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3) When removing bones or other inedible parts of the meal from your mouth, use chopsticks or a hand to take them and put them on a side plate (or the table) in front of you, instead of spitting them directly onto the table or the ground.&lt;br /&gt;
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4) If there is food around your mouth, use a tissue or a napkin to wipe it, instead of licking it with your tongue. When chewing food, don’t make noises.&lt;br /&gt;
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5) It is best not to talk with others with your mouth full. Be temperate in laughing lest you spew your food or the food goes down your windpipe and causes choking. If you need to talk, you should speak little and quietly.&lt;br /&gt;
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6) If you want to cough or sneeze, use your hand or a handkerchief to cover your mouth and turn away. If you find something unpleasant in your mouth when chewing or phlegm in the throat, you should leave the dinner table to spit it out.&lt;br /&gt;
&lt;br /&gt;
====Rules and Conventions Relating to Chopsticks====&lt;br /&gt;
&lt;br /&gt;
1) Do not stick chopsticks vertically into your food when not using them, especially not into rice, as this will make Chinese people think of funerals. At funerals, joss sticks (sticks of incense) are stuck into a pot by the rice that is put onto the ancestor altar.&lt;br /&gt;
&lt;br /&gt;
2) Do not wave your chopsticks around in the air too much or play with them.&lt;br /&gt;
&lt;br /&gt;
3) Do not stab or skewer food with your chopsticks.&lt;br /&gt;
&lt;br /&gt;
4) Pick food up by exerting sufficient inward pressure on the chopsticks to grasp the food securely and move it smoothly to your mouth or bowl. It is considered bad form to drop food, so ensure it is gripped securely before carrying it. Holding one’s bowl close to the dish when serving oneself or close to the mouth when eating helps.&lt;br /&gt;
&lt;br /&gt;
5) To separate a piece of food into two pieces, exert controlled pressure on the chopsticks while moving them apart from each other. This needs much practice.&lt;br /&gt;
&lt;br /&gt;
6) Some consider it unhygienic to use the chopsticks that have been near (or in) one’s mouth to pick food from the central dishes. Serving spoons or chopsticks can be provided, and in this case you will need to remember to alternate between using the serving chopsticks to move food to your bowl and your personal chopsticks for transferring the food to your mouth.&lt;br /&gt;
&lt;br /&gt;
7) Knives are traditionally seen as violent in China, and breakers of the harmony, so are not provided at the table. Some restaurants in China have forks available and all will have spoons. If you are not used to chopsticks, you can ask the restaurant staff to provide you with a fork or spoon.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
===Three Giant Home Appliance Enterprises In China===&lt;br /&gt;
&lt;br /&gt;
===A.Midea===&lt;br /&gt;
&lt;br /&gt;
Midea is a technology group of consumer electronics, HVAC, robotics and automation systems, and smart supply chain (logistics).Founded in Shunde, China in 1968, Midea officially entered the household appliance industry in 1980. In 1981, Midea registered its brand. The group employs a total of 130000 people, whose headquarter is locate in Shunde, Guangdong Province. Midea Group has about 200 subsidiaries, more than 60 overseas branches and 10 strategic business units worldwide, and is the main shareholder of KUKA group (about 95%) in Germany . Midea now has more than ten brands such as Midea and Little Swan. and has 15 and 6 production bases separately home and abroad.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Business operation'''&lt;br /&gt;
&lt;br /&gt;
Midea's diversified development strategy can reflect its wide range of business : consumer electrical appliances mainly including kitchen appliances, refrigerators, washing machines and all kinds of small household appliances; HVAC business focusing on heating and ventilation systems such as household air conditioning and central air conditioning; robot and industrial automation system business with German KUKA group and Midea robot company as the core.Up to July 2020, Midea ranked 22nd in the list of China's Top 100 Most Valuable Brands in 2020.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Corporate culture'''&lt;br /&gt;
&lt;br /&gt;
To some extent, enterprises seems like a person. Generally speaking, the style and personality of an enterprise are greatly affected by the values and behavior styles of enterprise leaders. Enterprise style and characters can determine the fate and future itself. Midea focus on sound operation. If Haier and Gree went to two &amp;quot;extremes&amp;quot;, Midea would choose the &amp;quot;middle road&amp;quot;, which is neither extreme left nor right. It will not suddenly break the original management framework and organizational structure,which, otherwise, would place the enterprise in high risk. Midea Group’s New Vision, mission,values and business principles are not only rooted in the achievements of historical accumulation, but also the strategic blueprint for the future. The New Vision,“the perfection of science and technology lead to the perfection of life”, continues the Midea’s emphasis on science and technology and human-oriented spirit; The new mission,“connecting people and things, enlightening the world of Midea” reflects its strategic thinking on the development trend of technology, industrial chain and global layout, and makes the linkage between people and things in different scenes more advanced, thus stimulating the leapfrog development of people’s lives and production; Through the value“dare to know the future”, Midea could continue carrying forward its spirits of future orientation and embracing changes. From a New Vision, mission, values, the United States of intelligent manufacturing, intelligent life, and the way to give back to society, but also a deeper level of exploration.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Development strategy'''&lt;br /&gt;
&lt;br /&gt;
'''(1)Diversified product strategy'''&lt;br /&gt;
&lt;br /&gt;
In the light of the wide range of its business, we can see that Midea is actively promoting diversified development: in the area of air-conditioning, Midea，since 1998，has made a series of acquisitions and mergers, expanding its air-conditioning capacity and entering the field of air-conditioning compressors. Moreover, it has produced the core components of air conditioning, increased research and development and cooperation in air conditioning, then begun to produce the core components of air conditioning compressor, increased research and development in the core components; as for small household appliances, since 2001, Midea has mastered the core components of microwave oven and become one of the three largest production bases in the world. Subsequently, the Group has reorganized the small appliance business under direct control and developed professionally on the basis of diversification ; diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket” , and its disadvantage lies in the difficulty for firms to concentrate and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2)&amp;quot;Intensive Growth + Extensive Expansion&amp;quot; business strategy'''&lt;br /&gt;
&lt;br /&gt;
Midea's business strategy can be described as &amp;quot;two-pronged approach&amp;quot;. On the one hand, Midea relies on its own enterprise strength to continuously optimize the performance of its core products and has made earnest efforts to improve the quality of its core products. On the other hand, through a series of acquisitions and mergers on home appliance brand，Midea has furthered its market penetration, and enhanced the market share, expanded the user group, leading to its accomplishment of “Extension Expansion” strategy. In fact, the strategy is not limited to mergers and acquisitions, but also includes the continuous paces into new industrial fields. Midea is building its own &amp;quot;Second Runway&amp;quot;, that is “New Product Incubation Platform”, which is not limited to the field of home appliances. As long as meeting Midea's standards for &amp;quot;innovative products&amp;quot;, any products can enter the incubation platform.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Development prospect'''&lt;br /&gt;
&lt;br /&gt;
'''（1)Home'''&lt;br /&gt;
&lt;br /&gt;
In 2020, affected by the COVID-19, the rising leverage ratio of the residential sector, the rising food prices, as well as the continuing low marriage and birth rates, the pace of further expansion of the household appliance market has been hindered. As one of the three giants in China's home appliance market, Midea is naturally deeply aware of the weakness of the home appliance market, which is reflected specifically in the decline of market demand for color TV sets, air conditioners, kitchen appliances and household appliances. Midea will unswervingly increase R&amp;amp;D investment, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth. Midea has further expanded its online market scale which has continuously diverted offline market scale. It has been developing an integrated sales channel with both online and offline, which has been promoted orderly on Suning, Gome, Jingdong, Tmall and other platforms. Facing the domestic market, Midea has been consolidated its basic system and established a unified business language and rules.&lt;br /&gt;
&lt;br /&gt;
'''（2)Abroad'''&lt;br /&gt;
&lt;br /&gt;
In 2020, the global trade friction continues to escalate, tariff barriers increases Midea’s risk of overseas market expansion, and the exchange rate between countries continues fluctuating. All of these factors mentioned above has increased Midea’s risk to engage in product export and  to exchange loss. Facing the overseas market, Midea will adhere to the consumer-oriented and product-leading strategy, give full play to its network advantages in global R&amp;amp;D and user research, grasp the differentiated needs of foreign consumer groups, improve the construction of multi-brand operation system, leading to further open-up of the foreign market and the improvement of market share.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Terms and Expressions&lt;br /&gt;
HVAC  暖通空调	 Shunde	（广东）顺德&lt;br /&gt;
&lt;br /&gt;
Smart supply chain  智能供应链	Diversification	 n. 多样化&lt;br /&gt;
&lt;br /&gt;
Subsidiary  n. 子公司	Intensive Growth  内生式增长&lt;br /&gt;
&lt;br /&gt;
Household appliance  家用电器	leverage ratio 	杠杆率&lt;br /&gt;
&lt;br /&gt;
Diversified	adj. 多元化的	Second Runway	第二跑道&lt;br /&gt;
&lt;br /&gt;
Intelligent manufacturing  智能制造	R&amp;amp;D  研发&lt;br /&gt;
&lt;br /&gt;
air conditioning compressor  空调压缩机	 Tmall 	天猫&lt;br /&gt;
&lt;br /&gt;
tariff barrier	贸易壁垒&lt;br /&gt;
&lt;br /&gt;
'''Questions	'''&lt;br /&gt;
	&lt;br /&gt;
1.Why does Midea implement diversified development strategy?&lt;br /&gt;
&lt;br /&gt;
2.Why corporate culture can determine its future?&lt;br /&gt;
&lt;br /&gt;
3.what development strategy does Midea adopt?&lt;br /&gt;
&lt;br /&gt;
4.How will Midea deal with the weakness of home appliance market?&lt;br /&gt;
&lt;br /&gt;
5.How does Midea differ from Haier and Gree in terms of its style?&lt;br /&gt;
&lt;br /&gt;
===B.Haier===&lt;br /&gt;
&lt;br /&gt;
Haier, formerly known as Haier Qingdao, is a leading global provider of solutions for a better life. Founded in 1980 and headquartered in Qingdao, Shandong Province, it was listed on the Shanghai Stock Exchange (600690) and the Frankfurt Stock Exchange (690D) in 1993 and 2018, respectively. Relentlessly centered on user experience and geared to the beat of the times, Haier has developed from an insolvent collective small factory on the verge of closure into an ecological enterprise leading the Internet of Things era. It has been the world's only IoT ecological brand for two consecutive years in the BrandZ 100 most valuable global brands. In the Internet of Things era, Haier is leading the world in terms of its ecological brand and single-unit model. Moreover, it boasts the world's largest market share in white goods R&amp;amp;D, production and sales, as well as in the integrated channel business of large appliances.&lt;br /&gt;
&lt;br /&gt;
'''Business operation'''&lt;br /&gt;
&lt;br /&gt;
Haier adopts Diversification Product strategy, but it differs from Midea's in that the former has broader fields. Its business scope mainly includes the R&amp;amp;D, production and sales of  and smart home scene solutions and smart home appliances such as refrigerators, washing machines, air conditioners, water heaters, kitchen appliances, small home appliances. It also engages in IT industry such as digital technology, intelligent technology, software technology, enterprise management services and consulting, information technology services, etc. Through a rich combination of products, brands and solutions, Haier creates a whole scene of intelligent life experience to meet users' pursuit of the good life.&lt;br /&gt;
&lt;br /&gt;
'''Corporate culture'''&lt;br /&gt;
&lt;br /&gt;
Corporate culture is the soul and gene of an enterprise. Haier's corporate culture is one of change, always following the times and continuous innovation and development, which can be summed up in four words: self-righteousness. It means everyone is constantly challenging themselves, overcoming themselves, reinventing themselves, and changing themselves according to external changes. So it can be said that Haier's corporate style is &amp;quot;paradigm change&amp;quot;.&lt;br /&gt;
Haier has its own core values: the concept of right and wrong of &amp;quot;always take the user as yes, take oneself as no&amp;quot; is Haier's motivation to create users; the concept of development of &amp;quot;everyone is the creator, chain group becomes self-driven&amp;quot; is Haier's way of looking at sustainable development; the concept of &amp;quot;win-win&amp;quot; is the guarantee for Haier's sustainable operation. Haier's corporate spirit is &amp;quot;ecological integrity, win-win evolution&amp;quot;. In the process of continuous entrepreneurship and innovation, the Haier Group always adheres to the development main line of &amp;quot;human value first&amp;quot;.&lt;br /&gt;
Haier has formed a perfect innovation culture which is dynamic and constantly optimized. Zhang Ruimin once said, &amp;quot;There exist no successful enterprises, only enterprises geared to the times.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Development strategy'''&lt;br /&gt;
&lt;br /&gt;
'''(1)Diversified product strategy'''&lt;br /&gt;
&lt;br /&gt;
From 1992, Haier has begun to expand from one product to a variety of products, and comprehensively implemented a diversification strategy. Through mergers, acquisitions, joint ventures, and cooperation, Haier has rapidly entered the field of white goods such as freezes, air conditioners, and washing machines from a single product refrigerator; in 1997, with the production of digital color TVs as a symbol, Haier entered the field of black home appliances from the field of white goods; in 1998, Haier ventured into the computer industry, which was known abroad as the field of beige home appliances. In 1998, Haier ventured into the computer industry, which is known abroad as the beige home appliance industry. In the process of expansion, Haier has engaged in capital operation in the way of eating &amp;quot;shock fish&amp;quot; and insisted on revitalizing tangible assets with intangible assets, which ensured the success rate of capital operation and the low-cost expansion. In this way, the goal of making Haier bigger and stronger in the shortest period of time was achieved. Haier still takes home appliance industry as its main industry, with sales accounting for about 40-70% of Haier's total sales. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2)&amp;quot;Intensive Growth + Extensive Expansion&amp;quot; business strategy'''&lt;br /&gt;
&lt;br /&gt;
Haier has adopted a parallel strategy,：on the one hand: Haier will set self-innovation as the core of corporate culture, the implementation of strategic innovation to establish the corporate brand, focus on making refrigerators upgrade, adhere to the Internet of Things smart home ecological brand strategic direction; on the other hand, Haier is undergoing a large-scale enterprise change, and we can hardly continue to classify Haier as &amp;quot;home appliance enterprises&amp;quot;. &amp;quot;After the change in the business model, Haier's many micro and small companies can decide their own development prospects, and the Haier Group does not limit or intervene in the their fields to entry. So the path of extensive expansion Haier takes is very broad.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Development prospect'''&lt;br /&gt;
&lt;br /&gt;
'''（1)Home'''&lt;br /&gt;
&lt;br /&gt;
During the epidemic, Haier's 3Q report achieved high quality growth, which is closely related to the future layout of Haier since more than 10 years. Haier has been exploring the transformation from &amp;quot;selling products&amp;quot; to &amp;quot;selling scenes&amp;quot; to adapt to the consumption trend of experiential scenes. When realizing differentiated competition, Haier brings user experience and industry development into a new dimension. With a forward-looking strategic layout and strong landing capabilities, Haier has formed industry differentiation advantages in smart package, experience cloud and mass customization, and promoted the company's transition to a smart home ecological brand. Haier is currently the leader in the domestic Internet market, but will face challenges from crossover competitors such as Xiaomi and Huawei, and needs to focus the company's resources to win the battle.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''（2)Abroad'''&lt;br /&gt;
&lt;br /&gt;
Among the home appliance enterprises, Haier is the first to go abroad, and is also the enterprise with the highest market share in overseas markets. In 2016, Haier also acquired the American General Electric Company at a sky-high price of $5.58 billion, which is the largest overseas merger and acquisition in China's home appliance industry, making Haier leap from a Qingdao local enterprise to a multinational white goods leader, and also marking the acceleration of Haier's internationalization process again. At the same time, Haier has been ranked first in the global home appliance market share for many years, with over 10% of the global home appliance market share.According to Euromonitor, Haier has kept its leading position in the Asia-Pacific and North American markets (the two markets together account for 63.5% of global retail sales). Taking the advantage of the concerted efforts of Candy, Haier merged recently, Haier is expected to achieve its market share among the top five in the European market and to become a true leader in the  home appliance industry worldwide.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Terms and Expressions'''&lt;br /&gt;
&lt;br /&gt;
Qingdao	（山东）青岛	Tangible asset	有形资产&lt;br /&gt;
&lt;br /&gt;
Shanghai Stock Exchange	上海证券交易所	Intangible asset	无形资产&lt;br /&gt;
&lt;br /&gt;
Frankfurt Stock Exchange	弗兰克福证券交易所	Shock Fish	休克鱼&lt;br /&gt;
&lt;br /&gt;
BrandZ	全球最具价值品牌百强榜	3Q report	三季报&lt;br /&gt;
&lt;br /&gt;
IoT 	物联网	Experience cloud 	体验云&lt;br /&gt;
&lt;br /&gt;
Ren Dan He Yi	人单合一	General Electric Company	美国通用电气公司&lt;br /&gt;
&lt;br /&gt;
chain group	链群	Euromonitor	欧睿信息咨询公司&lt;br /&gt;
&lt;br /&gt;
IT	信息技术	Candy	（意大利）卡迪集团&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Questions	'''&lt;br /&gt;
&lt;br /&gt;
1.What kind of home appliances does Haier focus on the most?&lt;br /&gt;
&lt;br /&gt;
2.What is the difference between Haier and Midea's diversified product strategy?&lt;br /&gt;
&lt;br /&gt;
3.What is Haier's &amp;quot;Ren Dan He Yi&amp;quot; model?&lt;br /&gt;
&lt;br /&gt;
4. The pros and cons of Haier's outward expansion strategy.&lt;br /&gt;
&lt;br /&gt;
5. Why did Haier transform to a smart home eco-brand?&lt;br /&gt;
&lt;br /&gt;
6. Haier's motivation for acquiring General Electric Company.&lt;br /&gt;
&lt;br /&gt;
===C.Gree===&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
===National Flag of the People’s Republic of China===&lt;br /&gt;
===A  A brief introduction of National Flag of the People's Republic of China===&lt;br /&gt;
The national flag of the people's Republic of China is a five-star red flag, the symbol of the country. Zeng Liansong is the designer of the national flag. Red and rectangular, its length and height are three to two. Five yellow five pointed stars are decorated on the top left of the flag. One star is larger, and its circumscribed circle diameter is three tenths of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is one tenth of the flag height, and the ring is arched to the right of the big star.&lt;br /&gt;
The national flag of the people's Republic of China began to solicit the design of the national flag from July 14 to August 15, 1949. On August 20, 1949, the national flag and national emblem Selection Committee received 2992 (3012) national flag designs. On September 27, 1949, deputies to the first plenary session of the National Committee of the Chinese people's Political Consultative Conference (CPPCC) passed a motion to use the five-star red flag as the national flag. On October 1, 1949, the first national flag was first raised by Mao Zedong in Tiananmen Square.&lt;br /&gt;
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. The five pointed stars are used in yellow to show light on the red ground. Each of the four small five pointed stars faces the center of the big star, indicating unity around a center.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===B  Establishment process===&lt;br /&gt;
===1. Solicit comments from the public===&lt;br /&gt;
On June 15, 1949, the Preparatory Committee for the National Committee of the Chinese people's Political Consultative Conference (CPPCC) was formally established in Peiping, shortly after Liberation. The preparatory work undertaken by this committee included the important task of formulating the national flag of new China, and designated the sixth group of the Preparatory Committee to be responsible for it.&lt;br /&gt;
On 4 July 1949, the sixth group held its first meeting. The meeting decided to publish newspapers to solicit the patterns of the national flag and the national emblem, and to set up a selection committee for the national flag and the national emblem pattern and the national lyrics score. In addition to the group members participating in the selection, Xu Beihong, Liang Sicheng, Ai Qing and other experts were invited to participate.&lt;br /&gt;
From July 14 to August 15, 1949, people's daily, Jiefang Daily, Xinhua daily and other newspapers and periodicals published the notice of the preparatory meeting of the Chinese people's Political Consultative Conference asking for the design of the national flag. The news of asking for the design of the national flag quickly spread to the whole country and overseas. Many people in their spare time, spread out the paper and began the design work. They carefully designed and drew one pattern after another with their own characteristics, marked with detailed instructions, and sent them to Beijing. They regard the design and drawing of the national flag as a glorious and noble thing to pour their boundless love for new China.&lt;br /&gt;
===2. Collect drafts from all walks of life===&lt;br /&gt;
On August 20, 1949, the national flag and national emblem Selection Committee received 2992 pieces of national flag patterns. Guo Moruo, Chen Jiageng and other members of the preparatory committee also submitted their sample designs. These designs were displayed in the temporary reading room. The selection committee selected 38 draft plans from them and incorporated them into the reference materials for the design of the national flag and submitted them to the newly established Chinese people's Political Consultative Conference for discussion.&lt;br /&gt;
===3. Pass a resolution===&lt;br /&gt;
The design of the national flag of the Chinese people's Political Consultative Conference (CPPCC) was approved in the 32nd session of the Chinese people's Political Consultative Conference. In the pattern of five-star red flag before this, there are sickles and axes in the big stars. Before the adoption of the resolution, the national flag and national emblem review group made partial modifications to the design pattern, and made a unified explanation on the significance of the national flag pattern.&lt;br /&gt;
On September 27, 1949, the resolution on the capital, chronology, national anthem and national flag of the people's Republic of China, adopted at the first plenary session of the CPPCC National Committee, stipulates in the fourth point that &amp;quot;it is unanimously adopted: the national flag of the people's Republic of China is a five-star red earth flag, which symbolizes the great unity of the revolutionary people of China.&amp;quot; The resolution of the Chinese people's Political Consultative Conference on the capital, chronology, national anthem and national flag of the people's Republic of China and the measures for flag making adopted by the presidium of the Chinese people's Political Consultative Conference stipulate that the national flag of the people's Republic of China is a five-star red flag, which is rectangular, and symbolizes revolution. Its length and height are three to two, and five yellow five pointed stars are on the top left of the flag, symbolizing the revolutionary unity under the leadership of the Communist Party of China The star symbolizes red with yellow, and the earth is bright. One star is larger, its circumscribed circle diameter is 3 / 10 of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is 1 / 10 of the flag height, and they are circled on the right side of the big star, and each has an angle point facing the center of the big star, which expresses the aspiration of hundreds of millions of people to the great Communist Party of China, just like the northern star. The flagpole cover is white to distinguish it from the red flag.&lt;br /&gt;
On September 29, 1949, the people's Daily published the pattern of the new national flag and the explanation of its making method, which were provided to all walks of life for making and using.&lt;br /&gt;
On October 1, 1949, the first national flag of the people's Republic of China was first raised by Mao Zedong in Tiananmen Square.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===C  Symbolism of the flag===&lt;br /&gt;
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. Yellow is used to show light on the red ground. Yellow is brighter and more beautiful than white. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.&lt;br /&gt;
&lt;br /&gt;
==Wu Qiong 吴琼==&lt;br /&gt;
&lt;br /&gt;
===China's Four New Inventions===&lt;br /&gt;
Most people must have known about China's Four Inventions: gunpowder, paper-making, compass, and printing. Those represented how wise the Chinese was and how brilliant history China had. Today, China still holds the places and influence in technology and inventions. In May,2017, teenagers from 20 nations along the Belt and Road selected China's four new inventions: high speed railway, QR code payment, sharing bikes and online shopping. Though these new inventions are not first invented by China, but it is China that makes full use of them, and introduces them to the rest of the world. The four new inventions bring incredible changes and convenience into people's life. China, at the same time, makes contributions to the development of the human beings. World's future will be bright and prosper due to more technologies and inventions such as China's Four New Inventions.&lt;br /&gt;
&lt;br /&gt;
===A. High-speed railway ===&lt;br /&gt;
High-speed railway is a railway system with advanced design and high-speed rails run on it. The world's first official high-speed rail system is the Tokaido Shinkansen line and it goes into public in 1964, connecting the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka. The high speed railway has promoted the rapid development of Japan. Its designed speed is 200km/h, which then becomes the initial speed standard of high-speed rail. Later, with the advancement of technology, the speed of trains became faster. Different countries have different definitions of high-speed railways in different eras. According to statistics, the length of high-speed railways in operation in China has reached to more than 6,800 kilometers. China has become the country with the most comprehensive high-speed railway system technology, the strongest integration capability, the longest operating mileage, the highest operating speed, and the largest scale of construction in the world.&lt;br /&gt;
&lt;br /&gt;
'''Features'''&lt;br /&gt;
&lt;br /&gt;
1. High-speed railways are very smooth to keep safety and comfort. High-speed railways are all seamless steel tracks, and high-speed railways with a speed of more than 300 kilometers per hour use ballastless tracks, that is, a monolithic track bed without stones to maintain smoothness.&lt;br /&gt;
2. The high-speed railway has few bends, as the bend is of long radius, and the turnouts are all moveable high-speed turnouts.&lt;br /&gt;
3. Use a large number of viaducts and tunnels to ensure ride comfort and shorten the distance.&lt;br /&gt;
4. The catenary of the high-speed railway, that is, the suspension of the wires on the top of the train, is also different from that of ordinary railways to keep stability and durability of the high-speed EMUs.&lt;br /&gt;
5. The signal control system of high-speed railways is higher than that of ordinary railways, because of the frequent departure and high speed of rails, it should be of high safety.&lt;br /&gt;
&lt;br /&gt;
'''Merits'''&lt;br /&gt;
&lt;br /&gt;
1. Large passenger capacity. Generally, high speed rails can accommodate 600 people. Compared to other public tools such as bus, boat or airplane, high speed rails have more seats.&lt;br /&gt;
2. Less time-consuming. In addition to the maximum operating speed, passengers are more concerned about travel time. High speed rails will not operate in late night, so passengers can get off the rails almost in daytime, thus to finish their business or other private matters which helps save a lot of time.&lt;br /&gt;
3. Good safety. Due to the automatic operation of high-speed rails in a fully enclosed environment and a series of complete safety guarantee systems, thus no other transportation means can be matched with it. Since the advent of high-speed railway 35 years ago, Japan, Germany, and France have already transported 5 billion passengers. Although there have been major traffic accidents on high-speed railways, the accident rate is much lower than that of civil aviation and is almost negligible. It is still the safest transportation system.&lt;br /&gt;
4. High punctuality. All high-speed railways adopt automatic control and can operate around the clock unless there is an earthquake.&lt;br /&gt;
5. Comfortable and convenient. High speed rails have spacious and comfortable seats, stable operation, shock absorption, sound insulation, and quiet environment. &lt;br /&gt;
6. Low energy consumption. High-speed trains use electric traction, do not consume precious petroleum and other liquid fuels, and use various forms of energy, which is not a wasteful transportation mean.&lt;br /&gt;
&lt;br /&gt;
'''Terms and Expressions'''&lt;br /&gt;
&lt;br /&gt;
High speed railways高速铁路  the Tokaido Shinkansen line东海道新干线&lt;br /&gt;
&lt;br /&gt;
the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka.日本三大都市圈: 东京、名古屋和大阪&lt;br /&gt;
&lt;br /&gt;
integration capability整合能力  operating mileage运营里程&lt;br /&gt;
&lt;br /&gt;
seamless steel tracks无缝钢轨  ballastless track无砟轨道 &lt;br /&gt;
&lt;br /&gt;
a monolithic track bed整体式道床  moveable high-speed turnouts.可动心高速道岔&lt;br /&gt;
&lt;br /&gt;
viaducts and tunnels高架桥梁和隧道  high-speed EMUs.高速动车组&lt;br /&gt;
&lt;br /&gt;
shock absorption and sound insulation减震隔音  petroleum and other liquid fuels石油等液体燃料&lt;br /&gt;
&lt;br /&gt;
'''Questions'''&lt;br /&gt;
&lt;br /&gt;
1. Where does the first high speed railway come from?&lt;br /&gt;
&lt;br /&gt;
2. What is the name of the first high speed railway?&lt;br /&gt;
&lt;br /&gt;
3. What is the advantages of high speed railway?&lt;br /&gt;
&lt;br /&gt;
4. What are the features of high speed railway?&lt;br /&gt;
&lt;br /&gt;
5. Which transportation carries more passengers, high speed rails or trains?&lt;br /&gt;
&lt;br /&gt;
6. From Changsha to Shanghai, which transportation means will you choose?&lt;br /&gt;
&lt;br /&gt;
===B. QR code payment===&lt;br /&gt;
The QR code payment model is based on the concept of mobile payment, and the first batch of payments made by mobile devices occurred in Finland in 1997. Finnish local media reported that Finland Telecom has enabled the service of operating jukeboxes and beverage vending machines by dialing a pay phone number. This service allows you to buy Coca-Cola at Helsinki Airport. The QR code, also known as &amp;quot;two-dimensional code&amp;quot; was invented in 1994 by the Japanese company DW.&lt;br /&gt;
&lt;br /&gt;
'''Background'''&lt;br /&gt;
&lt;br /&gt;
The rise of QR code payment methods in China is not occasionally. It  is mainly related to the rapid development of  IT technology and the rapid advancement of e-commerce. The maturity of IT technology has promoted the birth of mobile terminals such as smart phones and tablet computers, which makes people's mobile life more colorful. At the same time, domestic e-commerce is also closely related to &amp;quot;mobile&amp;quot;, especially the development of O2O. With a large number of mobile devices and a large amount of mobile consumption, payment costs have become particularly critical. Therefore, QR code payment solutions came into being.&lt;br /&gt;
&lt;br /&gt;
'''Characteristics'''&lt;br /&gt;
&lt;br /&gt;
At the end of 2010, QR codes and related technologies were widely circulated on the Internet, marking the beginning of the widespread popularity of QR codes in China. The popularity of any thing must have its reasons, and so is QR code payment. &lt;br /&gt;
1. Mature technology&lt;br /&gt;
QR  code payment already has mature technical means in developed areas abroad, which has laid the foundation for the development of domestic QR code technology, and it is believed that it will quickly become popular.&lt;br /&gt;
2. Easy to use&lt;br /&gt;
After the user installs the QR code recognition software, the transaction can be completed by simply swiping the place where the QR code is posted.&lt;br /&gt;
3. Convenient payment&lt;br /&gt;
With the QR code payment method, merchants do not have to bear high cost payments such as cash on delivery, and consumers can also make real-time payments anytime, anywhere.&lt;br /&gt;
4. Lower cost&lt;br /&gt;
Due to the maturity of technology and the popularization of mobile devices, the cost of QR code payment has become very low.&lt;br /&gt;
&lt;br /&gt;
'''Terms and Expressions'''&lt;br /&gt;
&lt;br /&gt;
QR code (Quick Response code)快速反应码   &lt;br /&gt;
&lt;br /&gt;
Finland芬兰  Telecom电信&lt;br /&gt;
&lt;br /&gt;
jukebox点唱机   beverage vending machine饮料自动售货机 &lt;br /&gt;
&lt;br /&gt;
Helsinki Airport赫尔辛基机场 &lt;br /&gt;
&lt;br /&gt;
'''Questions'''&lt;br /&gt;
&lt;br /&gt;
1. What advanced the birth of QR code?&lt;br /&gt;
&lt;br /&gt;
2. When did the QR code become popular in China?&lt;br /&gt;
&lt;br /&gt;
3. In which way can customers bear lower payment?&lt;br /&gt;
&lt;br /&gt;
4. Why does QR code cost lower?&lt;br /&gt;
&lt;br /&gt;
5. When was the QR code invented?&lt;br /&gt;
&lt;br /&gt;
===C. Sharied bikes===&lt;br /&gt;
As early as 1965, the Municipal Government of Amsterdam in the Netherlands proposed the &amp;quot;White Plan&amp;quot;. According to the plan, the government purchased 50 bicycles and painted them with white paint as a sign and scattered them around the city for people to use. This was the earliest in the world. The unmanned shared bicycle system is invented by the Netherlands. In 2007, France also had free cycling, and it was only later that China became popular and innovative models developed and promoted overseas.&lt;br /&gt;
&lt;br /&gt;
'''Function'''&lt;br /&gt;
&lt;br /&gt;
By providing services on campuses, subway stations, bus stations, residential areas, commercial districts, public service areas, etc., bicycle-sharing (bicycle) companies complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation. Produce synergy with other public transportation methods.  Shared bicycles are a time-sharing lease model and a new type of green and environmentally friendly sharing economy.&lt;br /&gt;
&lt;br /&gt;
'''Development'''&lt;br /&gt;
&lt;br /&gt;
China's bike-sharing market has gone through three stages of development. The first phase is from 2007 to 2010. The public bicycle model that has emerged from abroad is introduced into the country, and the government will lead the management in different cities, mostly with piled bicycles. 2010-2014 is the second stage. Companies specializing in the bicycle market began to appear, but public bicycles are still dominated by piled bicycles. The third phase is from 2014 to 2018. With the rapid development of the mobile Internet, Internet shared bicycles led by Mobike came into being, and more convenient dockless bicycles began to replace docked bicycles.&lt;br /&gt;
&lt;br /&gt;
'''Terms and Expressions'''&lt;br /&gt;
&lt;br /&gt;
Amsterdam阿姆斯特丹  the unmanned shared bicycle system 无人管理的共享单车系统&lt;br /&gt;
&lt;br /&gt;
free cycling 单车自由行 residential areas 居民区 &lt;br /&gt;
&lt;br /&gt;
last mile ”最后一公里“  green and environmentally friendly economy 绿色和环境友好型经济&lt;br /&gt;
&lt;br /&gt;
the first phase第一阶段 dockless bicycles无桩单车&lt;br /&gt;
&lt;br /&gt;
'''Questions'''&lt;br /&gt;
&lt;br /&gt;
1. Which country invented the shared bike?&lt;br /&gt;
&lt;br /&gt;
2. What is the main purpose for the invention of shared bike?&lt;br /&gt;
&lt;br /&gt;
3. How many phases at present have the shared bikes experienced?&lt;br /&gt;
&lt;br /&gt;
4. How's the prospect of the shared bikes?&lt;br /&gt;
&lt;br /&gt;
===D. Online shopping===&lt;br /&gt;
Online shopping belongs to the category of e-commerce. In 1979, the British Michael Aldrich invented the concept of online shopping. Aldrich used a technology called Videotex to connect an ordinary TV set to the computer of a local retailer through a telephone line. By the 1990s, after Amazon and eBay launched their websites in 1995, e-commerce became popular around the world.&lt;br /&gt;
&lt;br /&gt;
'''Definition'''&lt;br /&gt;
&lt;br /&gt;
Retrieve product information through the Internet, and send a shopping request through an electronic order form, and then fill in a personal checking account or credit card number. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company. For online shopping in China, the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions.&lt;br /&gt;
&lt;br /&gt;
'''Development'''&lt;br /&gt;
&lt;br /&gt;
As early as 1999, Chinese Internet prophets began to build B2C websites, dedicated to promoting online shopping in China. But this approach was generally questioned by the economics community at that time. (Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?) However, in the future, these doubts are all It's not a problem. They have been solved by large shopping websites, courier companies other than postal services, and many third-party online payments that connect with major banks.&lt;br /&gt;
&lt;br /&gt;
With the development of the economy, online shopping has gradually reappeared. In 2005, Dangdang achieved annual sales of 440 million yuan, a figure that greatly exceeded the expectations of most investment institutions two or three years ago. This number proves the success of the Amazon (famous e-commerce website) model in China, as well as the over-pessimism of economists and the greatness of market forces.&lt;br /&gt;
&lt;br /&gt;
With the popularity of the Internet, the advantages of online shopping have become more prominent, and it has increasingly become an important form of shopping. The 29th Statistical Report on Internet Development in China released by the China Internet Network Information Center (CNNIC) in January 2012 shows that as of the end of December 2011, the number of Internet users in China reached 513 million, with 55.8 million new Internet users throughout the year; The penetration rate increased by 4 percentage points from the end of last year, reaching 38.3%. The number of mobile Internet users in China reached 356 million, a year-on-year increase of 17.5%. Compared with previous years, the growth of China's overall Internet users has entered a platform period.&lt;br /&gt;
&lt;br /&gt;
'''Terms and Expressions'''&lt;br /&gt;
&lt;br /&gt;
retrieve product information检索商品信息   a courier company快递公司&lt;br /&gt;
&lt;br /&gt;
direct bank transfer直接银行转账  online remittance在线汇款&lt;br /&gt;
&lt;br /&gt;
secured transactions担保交易  cash on delivery货到付款  logistics and distribution 物流配&lt;br /&gt;
&lt;br /&gt;
'''Questions'''&lt;br /&gt;
&lt;br /&gt;
1. What are people concerning about before the online shopping came true?&lt;br /&gt;
&lt;br /&gt;
2. How could people pay online?&lt;br /&gt;
&lt;br /&gt;
3. How was the situation in the previous economic field?&lt;br /&gt;
&lt;br /&gt;
==Wu Yilu 吴一露==&lt;br /&gt;
===Four Domestic Mobile Phones===&lt;br /&gt;
&lt;br /&gt;
===A.Huawei===&lt;br /&gt;
&lt;br /&gt;
Of all the Chinese phone manufacturers, Huawei is probably the name that needs no introduction. It's the world's second largest smartphone company, and it's at the center of an international battle for technological dominance between Beijing and Washington. &lt;br /&gt;
&lt;br /&gt;
Founded in 1987, Huawei is a leading global provider of information and communications technology (ICT) infrastructure and smart devices. It has more than 194,000 employees, and operate in more than 170 countries and regions, serving more than three billion people around the world. Huawei is a private company wholly owned by its employees. No government agency or outside organization holds shares in Huawei.&lt;br /&gt;
&lt;br /&gt;
Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world. The benefits of digital technology shouldn't just be available to those who can afford it. Huawei's mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills. For example, three main world-changing technologies built by Huawei are 5G, Huawei cloud and Huawei AI.&lt;br /&gt;
&lt;br /&gt;
 &amp;quot;Staying customer-centric and creating value for customers&amp;quot; are the company's common values. The company has a well-developed internal governance structure, under which all governance bodies have clear and focused authority and responsibility, but operate under checks and balances. This creates a closed cycle of authority and achieves rational and cyclical succession of authority, so as to drive the facilitation and implementation of the company's common values.&lt;br /&gt;
&lt;br /&gt;
[[File:Corporate Governance Structure.jpg|650px|thumb|middle|Diagram of Huawei Corporate Governance. Click [https://www-file.huawei.com/-/media/corporate/images/about-huawei/2020/corporate-governance-structure-18en.png?la=en-us/File:Corporate Governance Structure.jpg] for original source.]]&lt;br /&gt;
&lt;br /&gt;
Huawei is continuing to focus on research and innovation to seize the opportunities and address the challenges of the future intelligent world.  There are many innovations and inventions of Huawei to drive the industry forward, including advanced wireless networks, optical networks, intelligent O&amp;amp;M, AI computing, smartphone camera, media CODEC standards, software, trustworthiness and so on. Today, Huawei have entered the 5G ear and embarked on 6G research. It is exploring new directions for 6G. To this end, they began research into the basic theories of 6G and initiated extensive open collaboration projects with other industry players and pushed the industry to build a consensus on 6G.&lt;br /&gt;
&lt;br /&gt;
Once virtually unknown to most Americans, the telecommunications giant was splashed across newspapers when top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran. Since then, the Chinese telecom has regularly made international headlines, especially since the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license. &lt;br /&gt;
For Huawei, that meant it could lose access to crucial technological parts including semiconductors, which are key components used in its base stations and phones. It also meant Huawei's handsets were cut off from the full power of Google's Android operating system, along with several popular apps including the Google Play store, Gmail, Google Maps and apps that rely on Google like Uber and eBay. At its launch in September, the Mate 30 was Huawei's first major phone to launch without Google's proprietary apps. Despite US efforts to constrain Huawei, the company reported first-half earnings this month showing revenue grew more than 13% from a year ago to around $65 billion.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expression===&lt;br /&gt;
&lt;br /&gt;
Huawei cloud	华为云	            Intelligent Collaboration	  协同管理技术&lt;br /&gt;
&lt;br /&gt;
optical networks	光纤网络	                 Carrier Network	承载网络&lt;br /&gt;
&lt;br /&gt;
intelligent O&amp;amp;M	智能委托运营	                  the Kunpeng 920	鲲鹏920&lt;br /&gt;
&lt;br /&gt;
AI computing	人工智能计算	                     AppGallery 	华为应用程序库&lt;br /&gt;
&lt;br /&gt;
information and communications technology (ICT)  信息与通讯技术             	Media CODEC standards	编解码标准&lt;br /&gt;
&lt;br /&gt;
===Questions:===&lt;br /&gt;
&lt;br /&gt;
'''1.'''When is Huawei founded?&lt;br /&gt;
&lt;br /&gt;
It is founded in 1987.&lt;br /&gt;
&lt;br /&gt;
'''2.'''How many countries and regions does Huawei operate? &lt;br /&gt;
&lt;br /&gt;
It operates in more than 170 countries and regions&lt;br /&gt;
&lt;br /&gt;
'''3.'''Do government agency and outside organization hold shares if Huawei?&lt;br /&gt;
&lt;br /&gt;
No, no government agency or outside organization holds shares in Huawei.&lt;br /&gt;
&lt;br /&gt;
'''4.'''What is the vision and mission of Huawei? And what do they do to achieve this mission?&lt;br /&gt;
&lt;br /&gt;
Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world; their mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills.&lt;br /&gt;
&lt;br /&gt;
'''5.'''What are the three main world-changing technologies built by Huawei?&lt;br /&gt;
&lt;br /&gt;
5G, Huawei cloud and Huawei AI.&lt;br /&gt;
&lt;br /&gt;
'''6.'''What are the innovations and inventions of Huawei?&lt;br /&gt;
&lt;br /&gt;
Advanced wireless networks, optical networks, intelligent O&amp;amp;M, AI computing, smartphone camera, Media CODEC standards, software, trustworthiness and so on. &lt;br /&gt;
&lt;br /&gt;
'''7.'''What are the company’s common values?&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Staying customer-centric and creating value for customers&amp;quot; are the company's common values.&lt;br /&gt;
&lt;br /&gt;
'''8.'''What makes that the telecommunications giant frequently was mentioned across newspapers?&lt;br /&gt;
&lt;br /&gt;
①Top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran. &lt;br /&gt;
&lt;br /&gt;
②the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license.&lt;br /&gt;
&lt;br /&gt;
'''9.'''Which phone is the first major phone launched without Google’s proprietary apps？&lt;br /&gt;
&lt;br /&gt;
The Mate 30.&lt;br /&gt;
&lt;br /&gt;
'''10.'''What’s your opinion towards these two issues mention above? Will these hinder the development of Huawei?&lt;br /&gt;
&lt;br /&gt;
In my opinion, these are totally unfair to Huawei, as well as China’s companies and economy. The Meng Wanzhou case is a serious political incident orchestrated by the United States to suppress Chinese high-tech companies and Huawei. It is also a kind of protectionism, which is divorced from the trend of globalization. We cannot deny that those actions will hinder the development of Huawei, specially some necessary chips. Although Huawei made preparation in advance, the core products are guaranteed to be available for six months to two years. In addition, Huawei has self-developed a large number of chip designs. But the following three areas are difficult to replace in the short term: manufacturing, semiconductor equipment and EDA software. On the one side, these issues, obviously, will obstruct the development of Huawei, but on the other side, they also promote the process of autonomy of domestic chips.&lt;br /&gt;
&lt;br /&gt;
===B. Xiaomi===&lt;br /&gt;
&lt;br /&gt;
Xiaomi is one of China's earlier homegrown success stories. It is an internet company with smartphones and smart hardware connected by an IoT platform at its core. Founded in April 2010 and listed on the Main Board of the Hong Kong Stock Exchange on July 9, 2018, Xiaomi has matured into one of China's domestic champions. &lt;br /&gt;
&lt;br /&gt;
With the vision of being friends with its users and being the “coolest company” in the hearts of its users, Xiaomi is committed to continuous innovation, with an unwavering focus on quality and efficiency. Xiaomi is currently the world's fourth-largest smartphone brand, and has established the world's largest consumer IoT platform, with more than 213.2 million smart devices (excluding smartphones and laptops) connected to its platform--- Xiaomi Vela.&lt;br /&gt;
&lt;br /&gt;
[[File:Xiaomi-logo.jpg|100px|thumb|left|Xiaomi-logo. Click [https://https://upload.wikimedia.org/wikipedia/commons/thumb/2/29/Xiaomi_logo.svg/800px-Xiaomi_logo.svg.png/File:Xiaomi-logo.jpg] for original source.]]&lt;br /&gt;
&lt;br /&gt;
Currently, Xiaomi products are present in more than 90 countries and regions around the world and have a leading foothold in many markets.The &amp;quot;MI&amp;quot; in its logo stands for “Mobile Internet”. It also has other meanings, including &amp;quot;Mission Impossible&amp;quot;, because Xiaomi faced many challenges that had seemed impossible to defy in our early days.“Just for fans”--- that’s Xiaomi’s belief. Many of their employees were initially fans of Mi products, before they decided to join them.&lt;br /&gt;
&lt;br /&gt;
The company relentlessly builds amazing products with honest prices to let everyone in the world enjoy a better life through innovative technology. For many years, Xiaomi's not-so-secret weapon has been selling quality phones at near cost. It has even released a $100 phone. This low-margin strategy has helped Xiaomi cultivate a loyal fan base, especially in price-sensitive countries in Asia like India, where its slick Android phones often sell out within hours of release. &lt;br /&gt;
&lt;br /&gt;
Xiaomi generates most of its revenue from selling phones, but recurring revenue from the sale of software and services that ride on its phone allow the Beijing-based company to sell its handsets for cheap. It also sells a portfolio of its own smart products including bedside lamps and air purifiers to help build its Mi brand internationally.&lt;br /&gt;
&lt;br /&gt;
In recent years, however, Xiaomi -- like many of its rivals -- has prioritized selling more high-priced phones as the global smartphone industry and its margins shrink. This strategy seems to have paid off, with the company reporting nearly 14% revenue growth in the first quarter despite the business challenges of the coronavirus pandemic. It stands in contrast to Samsung and Apple, which have both warned of a challenging year ahead. &lt;br /&gt;
&lt;br /&gt;
The investment in the world’s fastest-growing mobile market, where over 300,000 people power up their first smartphone every day, has made Xiaomi India’s bestselling smartphone brand for three years running. In 2020 so far, it has sold 29 million phones, 2 million more than in China, to control a full quarter of India’s smartphone market. but it does face one strong headwind: Indian consumers’ anti-China sentiment. A border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods. Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash, which means Xiaomi’s trajectory on the subcontinent may depend on whether the roots it planted in India qualify the brand as Indian enough.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expression===&lt;br /&gt;
&lt;br /&gt;
IoT（Internet of Things）	物联网	robot vacuums	机器人吸尘器&lt;br /&gt;
&lt;br /&gt;
Xiaomi 	小米	powerbank	充电宝&lt;br /&gt;
&lt;br /&gt;
VR glasses	虚拟现实眼镜	UAV(Unmanned Aerial Vehicle)	无人机&lt;br /&gt;
&lt;br /&gt;
electric scooters	电动平衡车	WiFi rooters	无线路由器&lt;br /&gt;
&lt;br /&gt;
===Questions:===&lt;br /&gt;
&lt;br /&gt;
'''1.'''When is Xiaomi founded?&lt;br /&gt;
&lt;br /&gt;
It is founded in April 2010.&lt;br /&gt;
&lt;br /&gt;
'''2.'''What is the core of this company？&lt;br /&gt;
&lt;br /&gt;
The IoT platform.&lt;br /&gt;
&lt;br /&gt;
'''3.'''What’s Xiaomi’s ranking in the world’s smartphone brands？And what are the top 4 smartphone brands？&lt;br /&gt;
&lt;br /&gt;
Xiaomi is currently the world's fourth-largest smartphone brand. The top four smartphone brands are Apple, Huawei, Samsung and Xiaomi.&lt;br /&gt;
&lt;br /&gt;
'''4.'''What does the &amp;quot;MI&amp;quot; in its logo stand for？&lt;br /&gt;
&lt;br /&gt;
Xiaomi Vela.&lt;br /&gt;
&lt;br /&gt;
'''5.'''What is Xiaomi’s belief？&lt;br /&gt;
&lt;br /&gt;
It stands for “Mobile Internet” and &amp;quot;Mission Impossible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
'''6.'''What has helped Xiaomi cultivate a loyal fan base？&lt;br /&gt;
&lt;br /&gt;
“Just for fans”--- that’s Xiaomi’s belief.&lt;br /&gt;
&lt;br /&gt;
'''7.'''How does Xiaomi generate its revenue？&lt;br /&gt;
&lt;br /&gt;
The low-margin strategy.&lt;br /&gt;
&lt;br /&gt;
'''8.'''What problem does Xiaomi confront in India？and Why？&lt;br /&gt;
&lt;br /&gt;
Xiaomi generates most of its revenue from selling phones, but recurring revenue from the sale of software and services.&lt;br /&gt;
&lt;br /&gt;
'''9.'''What’s your opinion about the future of Xiaomi in Indian market？&lt;br /&gt;
&lt;br /&gt;
Indian consumers’ anti-China sentiment. Because a border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods, and then Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash&lt;br /&gt;
10.What’s your opinion about the future of Xiaomi in Indian market？&lt;br /&gt;
Although we can find that Xiaomi made instant reaction to confront with this boycott by telling local media that Xiaomi was “as Indian as any other company here” , competitors like Samsung, took this chance and began flooding India with phones that could compete with Xiaomi’s features and affordability. So only if the relationship between China and India become better or Xiaomi figures a new way, otherwise, Xiaomi’s market in India will shrink gradually.&lt;br /&gt;
&lt;br /&gt;
===C. Vivo &amp;amp; OPPO===&lt;br /&gt;
&lt;br /&gt;
If you're not familiar with the name VIVO, there's still a good chance you have seen some of its phones, which appeared in Marvel's blockbuster Captain America: Civil War. As with its older and larger sibling OPPO, the Chinese phone-maker's trademark marketing style involves using high-profile product placement and sponsorships to win over European shoppers. Although OPPO and VIVO aren't household names in the West, both have vaulted up the global rankings to place within the top six smartphone manufacturers in a comparatively short period of time, due partially to the popularity of their affordable phones among young consumers. Besides, OPPO and VIVO smartphones are always in eye-catching glossy colors which looks good, but it’s plastic after all. It does not feel premium in hand, so there is still much room for improvement for these two brands.&lt;br /&gt;
&lt;br /&gt;
Are VIVO and OPPO same? Yes, even though OPPO and VIVO stress that they're competitors, both companies were spun out of the same parent company. OPPO and VIVO share the same parent company mainly known as BBK Electronics Corporation (Headquarters at Dongguan, Guangdong – China). According to Wikipedia, BBK Electronics Corporation is a Chinese multinational firm specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too. BBK Electronics is also considered as the world’s 2nd-largest phone manufacturer company, (according to a report from 2017) which manufactures some of the fastest growing smartphones brands in Asia. They recently got popular in developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.&lt;br /&gt;
&lt;br /&gt;
At the 2020 Developer Conference, Color OS 11 launched by OPPO focuses on personalized creation, seamless experience, and sensory invigoration. While the Origin OS launched by VIVO carried out subversive innovations mainly in UI design. &lt;br /&gt;
The OPPO Developer Conference focuses on the integration of people, equipment and scenes. VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.&lt;br /&gt;
&lt;br /&gt;
With the development of 5G, the interconnection of everything is the most significant trend. Both OPPO and VIVO have demonstrated cross-device synergy in the OS upgrade, and they also attach great importance to the construction of the IoT ecosystem. There are 6 research and development centers of VIVO working on leading technologies: Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA), and 4 global manufacturing bases delivering premium quality products: Dongguan, Chongqing, India and Republic of Indonesia.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expression===&lt;br /&gt;
&lt;br /&gt;
OS 	操作系统（operating system）	VOOC	闪充&lt;br /&gt;
&lt;br /&gt;
BBK	步步高	Fingerprint unlocking	指纹解锁&lt;br /&gt;
&lt;br /&gt;
accessories	配件	octa-core processor	八核心处理器&lt;br /&gt;
&lt;br /&gt;
===Questions:===&lt;br /&gt;
&lt;br /&gt;
'''1.'''What’s the relationship between OPPO and VIVO？&lt;br /&gt;
&lt;br /&gt;
They're competitors, but they were also spun out of the same parent company.&lt;br /&gt;
&lt;br /&gt;
'''2.'''What are the characteristics of OPPO and VIVO smartphones？&lt;br /&gt;
&lt;br /&gt;
Affordable and eye-catching glossy colors.&lt;br /&gt;
&lt;br /&gt;
'''3.'''Where is the headquarter of BBK Electronics Corporation？And what is it specializing in？&lt;br /&gt;
&lt;br /&gt;
The headquarters locates at Dongguan, Guangdong, China. It specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too. &lt;br /&gt;
&lt;br /&gt;
'''4.'''Where are the major markets of BBK Electronics Corporation？&lt;br /&gt;
&lt;br /&gt;
Developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.&lt;br /&gt;
&lt;br /&gt;
'''5.'''Please give a example of products from each brands.&lt;br /&gt;
&lt;br /&gt;
OPPO: Color OS 11&lt;br /&gt;
&lt;br /&gt;
VIVO: Origin OS&lt;br /&gt;
&lt;br /&gt;
'''6.'''What does the OPPO Developer Conference focus on？&lt;br /&gt;
&lt;br /&gt;
It focuses on personalized creation, seamless experience, and sensory invigoration. &lt;br /&gt;
&lt;br /&gt;
'''7.'''What’s the mission of VIVO？&lt;br /&gt;
&lt;br /&gt;
VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.&lt;br /&gt;
&lt;br /&gt;
'''8.'''How many research and development centers does VIVO have？And where are they？&lt;br /&gt;
&lt;br /&gt;
6 research and development centers. They are in Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA).&lt;br /&gt;
&lt;br /&gt;
'''9.'''How many global manufacturing bases does VIVO have？ And where are they？&lt;br /&gt;
&lt;br /&gt;
4 global manufacturing bases. They are in Dongguan, Chongqing, India and Republic of Indonesia.&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:50, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Zijia 吴子佳==&lt;br /&gt;
Chinese Dialects&lt;br /&gt;
&lt;br /&gt;
===A.Brief introduction of Chines dialects===&lt;br /&gt;
&lt;br /&gt;
The words topolect and hibernation, all comes from Yangxiong (53-18), &amp;quot;Interpretation of Foreign Dialects: Light Xuan“in the Han dynasty. &amp;quot;Dialect&amp;quot; refers to different meanings in different groups, according to the Chinese , &amp;quot;dialect &amp;quot; is both a political concept and a linguistic one, and it is also known as &amp;quot;Vernacular &amp;quot;.  &amp;quot;Accent&amp;quot;, refers to the difference in the language standard of a certain region, such as relationship between relatives regardless of the language.&lt;br /&gt;
&amp;quot;Dialect&amp;quot;,however, is a linguistic concept in Europe, subordinating under the concept of&amp;quot;language&amp;quot; at the beginning of the eighteenth century. Based on the relationship between the language (pronunciation, vocabulary and grammar),it is divided into family, group, branch and language.Considering the special national situation of China, The translation of &amp;quot;Chinese dialects&amp;quot; into English is &amp;quot;Varieties of Chinese&amp;quot;.According to the European , dialect is a language that differs from the standarded language and is spoken in only one certain region. &lt;br /&gt;
China enjoys a vast field and a long history. In the process of historical development, different divisions and unification inevitably occurred in the society, which led to the gradual emergence of diverse and complex dialects system in Chinese. There are many factors contributing to the evolution of dialect, including social, historical and geographical factors, as well as the language itself.&lt;br /&gt;
According to the dialects, Chinese is divided into two categories: the official dialects and the nine local dialects. Official dialects ,namely modern Chinese, are not independent dialects, because they are very similar in pronunciation, vocabulary and grammar to the common language. Other regional dialects differ greatly in pronunciation, vocabulary and grammar, thus forming their own dialect systems. The official dialects include northeast Mandarin, Beijing mandarin, Ji Lu mandarin, Jiao-Liao mandarin, Central Plains mandarin, Lan-Yin mandarin, Southwest Mandarin and Jianghuai mandarin. The nine local dialects include Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua.&lt;br /&gt;
&lt;br /&gt;
===B.Hunan dialect===&lt;br /&gt;
&lt;br /&gt;
Xiangyu , also known as xiang dialect or Hunan dialect, belongs to the sino-tibetan  language, and is the main language used by the hunan people who live in xiangjiang river basin and its branches. Xiangyu is divided into two categories: new Xiangyu and The old Xiangyu. The new Xiangyu is represented by Changsha dialect while the old one is represented by Shuangfeng dialect.&lt;br /&gt;
The core area of ancient Chu language is located in the middle reaches of Yangtze River, and Chu language is the ancestor language of Xiang language [1]. Modern Xiangyu speakers are mainly distributed in a considerable part of Hunan province in Mainland China, including Changsha, Zhuzhou, Xiangtan, Yueyang, Yiyang, Loudi, Hengyang, Shaoyang, Yongzhou and so on. In 2010, the number of Xiangyu-speaker was estimated to be about 45 million. The regional dialects of Hunan province include Hunan, Southwest Official, Gan, Hakka, and Xiangxiang, southern Hunan dialect, which have not yet been classified as belonging to the dialect. Xiangyu is the main dialect of Hunan Province. Hunan province is a region that has diverse dialects. &lt;br /&gt;
The chu dialect ,namely Chu Yan (ancient Chu language), is popular in Chu in the pre-Qin period, and it is the most ancient origin of Xiang language. The specific appearance of ancient Chu language cannot be verified today, but it is the earliest language used by the Han people in Hunan and along the Xiangjiang river. The word &amp;quot;Chu Yan&amp;quot; first appeared in Zuo Zhuan, indicating that the Chu Yan had been formed at least in the late Spring and Autumn Period, and was a branch of Chinese language,and was different from the Central Plains Yayin XiaYan at that time.There are 20-35 initials of Xiangyu, 30 to 40 finals, 5-7tones,commonly with 6 .&lt;br /&gt;
&lt;br /&gt;
===C. Contonese===&lt;br /&gt;
&lt;br /&gt;
Yueyu ,or Cantonese, Guangdong dialect and Tang dialect, is commonly known as &amp;quot;baihua&amp;quot;.It is a Chinese dialect in the Chinese-Tibetan Chinese language family. Cantonese is the mother tongue of the Guangfu nationality, an important carrier of the Guangfu culture of the Han nationality, and one of the basic symbolic cultural identities of the Guangfu nationality. Cantonese has a complete language system consisting of nine tones and six volumes of tones, retaining many characteristics of Middle Ancient Chinese . Besides Putonghua, it is the only Chinese language that has been studied independently by foreign universities. &lt;br /&gt;
As for the origin of Cantonese, there are different opinions.Some says that it originated from the Northern Mid-plain dialect and others the Chu language from the State of Chu. Cantonese is one of the southern dialects that retains more middle Ancient Chinese elements than other dialects, among which the most prominent feature is that it relatively retains the universal middle Ancient Chinese &amp;quot;Ru Sheng&amp;quot;, and its initials, finals and tones have a good correspondence with the ancient Chinese standard rhymes in&amp;quot;Qu Yun&amp;quot; and &amp;quot;Guang Yun&amp;quot;.&lt;br /&gt;
Mandarin is a dominant language in Guangdong province, and the most dominant dialect is Cantonese. Hakka dialect and Fujian dialect are the other two major Chinese dialects with great influence in the province. Hakka dialect is mainly concentrated in the northeast and north of Guangdong province, and hakka dialect is also distributed in parts of western Guangdong province.  Hakka villages are scattered in most parts of the province, and the number of people using this dialect is about 20 million. Fujian dialect is mainly distributed in the coastal area of the southwest and southeast of Guangdong province ,including 6 municipalities:Chaozhou, Shantou, Jieyang, Shanwei, Zhanjiang, Maoming ,and it can be divided into to language-speaking areas: they are , Chaoshan and Leizhou .The former shares some similarities with the south Fujian dialect , while the later is close to Hainan dialect.In addition, there are 18.95 million people living in some islets in Zhongshan,Huizhou, Qingyuan, Shaoguan taking Fujian dialect as their official language. &lt;br /&gt;
&lt;br /&gt;
===Question===&lt;br /&gt;
1.How many local dialects in China?What are they?&lt;br /&gt;
2.What is the origin of Contonese?&lt;br /&gt;
3.Where do most people speak the Hunan dialect?&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:23, 9 November 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
==Xiao Shuangling 肖双玲==&lt;br /&gt;
&lt;br /&gt;
===March of the Volunteers (National Anthem of the People's Republic of China)===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===A. Brief Introduction===&lt;br /&gt;
&lt;br /&gt;
March of the Volunteers is a song composed by Tian Han and Nie Er. It is the theme song of the film Children of Troubled Times, known as the clarion call of the Liberation of the Chinese nation. Since its birth in 1935 at the critical moment of national crisis, it has played a great role in inspiring the patriotic spirit of the Chinese people, and later became the National Anthem of the People’s Republic of China.&lt;br /&gt;
&lt;br /&gt;
On May 9, 1935, the first version of the song was recorded in the recording studio of EMI Records. In 1951, in order to meet the needs of playing the national anthem, the People's Record Factory recorded and published a rough record composed of a brass ensemble and an orchestral ensemble. In 1959, to celebrate the 10th anniversary of the founding of the People’s Republic of China, the China Record Factory recorded and published a full set of standard national anthem special records. In 1978, a special album for collective lyrics was released. In 1983, China Record Shanghai Company recorded and published a special record for the standard national anthem after the original word was restored.&lt;br /&gt;
&lt;br /&gt;
On March 14, 2004, the Second Session of the Tenth National People’s Congress passed a constitutional amendment, officially stipulating that the national anthem of the People’s Republic of China shall be the March of Volunteers.&lt;br /&gt;
&lt;br /&gt;
The National Anthem Law of the People's Republic of China was adopted at the 29th Session of the 12th National People's Congress Standing Committee on September 1st, 2017, and formally went into effect on October 1st.&lt;br /&gt;
&lt;br /&gt;
===B. Creation Background===&lt;br /&gt;
&lt;br /&gt;
March of the Volunteers is the theme song of the film Children of Troubled Times. In the autumn of 1934, Tian Han wrote a long poem for the film, the last verse of which was selected as the lyrics of the theme song March of the Volunteers. Shortly after the lyrics were written, Tian Han was arrested and imprisoned by the Kuomintang authorities. In February 1935, director Xu Xingzhi took over the shooting of Children of Troubled Times. Soon after, comrades who went to prison to visit brought back the lyrics written by Tian Han in prison on the back of cigarette packing paper, that is, the original manuscript of March of the Volunteers. At that time, Nie Er was preparing to go to Japan to seek refuge. He learned that there was a theme song to write in the film children of the wind and cloud. He took the initiative to compose music for the song and promised to send back the song manuscript as soon as possible after he arrived in Japan.&lt;br /&gt;
&lt;br /&gt;
Nie Er completed the first draft of the score soon after receiving the lyrics. On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft of the score, and sent the final draft to Shanghai Dentsu Film Company at the end of April. Afterwards, in order to make the song tune and rhythm more powerful, Nie Er and Sun Shiyi discussed and made three changes to the lyrics, thus completing the song creation.&lt;br /&gt;
&lt;br /&gt;
After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word &amp;quot;March&amp;quot;. General Zhu Qinglan, as the investor of the film Children of Troubled Times, added &amp;quot;Volunteers&amp;quot; after the words of &amp;quot;March&amp;quot;, thus naming the song March of the Volunteers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===C. Song Appreciation===&lt;br /&gt;
&lt;br /&gt;
The March of the Volunteers is a very creative song; the composer Nie Er devotes himself to the creation of this song with great passion. First of all, he succeeds in handling the poetic lyrics of Tian Han’s prose in accordance with the laws of music in an extremely vivid, powerful and colloquial way. In terms of melody creation, he not only absorbs the excellent achievements of international revolutionary songs and the style characteristics of Western European march, but also makes it have strong national characteristics, so that the song could be grasped by the broad masses and play its fighting role.&lt;br /&gt;
  &lt;br /&gt;
The song begins as a prelude to a six-bar march. It has a sonorous rhythm, bright and majestic melody, among which the magical effect of triplet enhances the fighting atmosphere of the song. Although the prelude is short, it contains the basis for the emotional and melody development of the entire song. The songs are interlocked and advanced layer by layer. This process runs through the whole song, and the end of the song is repeated many times, giving people a sense of unwavering and unstoppable.&lt;br /&gt;
  &lt;br /&gt;
According to the characteristics of the lyrics clause, Nie Er treated the song into a free body structure formed by six phrases of varying lengths. Although the melody and structure of each phrase are different, the cohesion between the phrase and the phrase is close, the development is natural, and the singing is ups and downs, and is integrated.&lt;br /&gt;
  &lt;br /&gt;
March of the Volunteers, with its soaring, sonorous and powerful melody and inspiring lyrics, expresses the Chinese people's strong resentment and resistance to imperialist aggression, and embodies the heroic spirit of the great Chinese nation in the face of foreign aggression that is brave, strong, united as one to go through national disaster.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===D. Chinese and English Lyrics===&lt;br /&gt;
&lt;br /&gt;
起来！不愿做奴隶的人们！&lt;br /&gt;
&lt;br /&gt;
把我们的血肉，筑成我们新的长城！&lt;br /&gt;
&lt;br /&gt;
中华民族到了最危险的时候，&lt;br /&gt;
&lt;br /&gt;
每个人被迫着发出最后的吼声。&lt;br /&gt;
&lt;br /&gt;
起来！起来！起来！&lt;br /&gt;
&lt;br /&gt;
我们万众一心，&lt;br /&gt;
&lt;br /&gt;
冒着敌人的炮火,&lt;br /&gt;
&lt;br /&gt;
前进！&lt;br /&gt;
&lt;br /&gt;
冒着敌人的炮火，&lt;br /&gt;
&lt;br /&gt;
前进！&lt;br /&gt;
&lt;br /&gt;
前进！前进、进！&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Arise, you who refuse to be bond slaves!&lt;br /&gt;
&lt;br /&gt;
Let’s stand up and fight for&lt;br /&gt;
&lt;br /&gt;
Liberty and true democracy.&lt;br /&gt;
&lt;br /&gt;
All our world is facing&lt;br /&gt;
&lt;br /&gt;
The chains of the tyrants.&lt;br /&gt;
&lt;br /&gt;
Everyone who works for freedom is now crying:&lt;br /&gt;
&lt;br /&gt;
Arise! Arise! Arise!&lt;br /&gt;
&lt;br /&gt;
With the torch of freedom,&lt;br /&gt;
&lt;br /&gt;
March on!&lt;br /&gt;
&lt;br /&gt;
With the torch of freedom,&lt;br /&gt;
&lt;br /&gt;
March on!&lt;br /&gt;
&lt;br /&gt;
March on! March on, and on!&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Vocabulary List===&lt;br /&gt;
&lt;br /&gt;
March of the Volunteers 义勇军进行曲&lt;br /&gt;
&lt;br /&gt;
Children of Troubled Times 风云儿女&lt;br /&gt;
&lt;br /&gt;
EMI 百代唱片&lt;br /&gt;
&lt;br /&gt;
National People’s Congress 全国人民代表大会&lt;br /&gt;
&lt;br /&gt;
National People's Congress Standing Committee 全国人大常委&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
‭&lt;br /&gt;
1. Who are the composers of March of the Volunteers?&lt;br /&gt;
&lt;br /&gt;
2.Which movie's theme song does March of the Volunteers belong to?&lt;br /&gt;
&lt;br /&gt;
3.When did the National Anthem Law go into effect?&lt;br /&gt;
&lt;br /&gt;
4.When was the final draft completed?&lt;br /&gt;
&lt;br /&gt;
5.How did the name of this song come from?&lt;br /&gt;
&lt;br /&gt;
===Answers===&lt;br /&gt;
1.1.March of the Volunteers is a song composed by Tian Han and Nie Er.  &lt;br /&gt;
&lt;br /&gt;
2.It is the theme song of the film Children of Troubled Times.  &lt;br /&gt;
&lt;br /&gt;
3.The National Anthem Law of the People's Republic of China  formally went into effect on October 1st, 2017. &lt;br /&gt;
&lt;br /&gt;
4.On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft.  &lt;br /&gt;
&lt;br /&gt;
5.After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word &amp;quot;March&amp;quot;. General Zhu Qinglan, as the investor of the film Children of Troubled Times, added &amp;quot;Volunteers&amp;quot; after the words of &amp;quot;March&amp;quot;, thus naming the song March of the Volunteers.&lt;br /&gt;
&lt;br /&gt;
==Xiao Ting 肖婷==&lt;br /&gt;
'''Zheng He’s Voyages '''&lt;br /&gt;
&lt;br /&gt;
From 1405 until 1433, the Chinese imperial eunuch Zheng He led seven ocean expeditions for the Ming emperor which is  an unprecedented feat in world history. &lt;br /&gt;
&lt;br /&gt;
'''Zheng He'''&lt;br /&gt;
Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma,his full name as Ma Sanbao .At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south. &lt;br /&gt;
He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam.Thus,he was assumed as the perfect choice to lead the emperor’s splendid armada.&lt;br /&gt;
&lt;br /&gt;
'''Reasons for the voyages'''&lt;br /&gt;
The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet showed the prosperity ，the imperial power and its advanced navigation technology and exquisite ship-building techniques  of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”.These countries and bribes regularly gave gifts of tribute in exchange for certain benefits ,like military posts and treaties.&lt;br /&gt;
Zheng He's fleet did not act as a sea ruler, it appeared in peace all over the world, laden not only with goods exchanged with  those countries, but also with the friendship of peoples.&lt;br /&gt;
&lt;br /&gt;
'''The seven expeditions'''&lt;br /&gt;
These expeditions were astonishing as much for their distance as for their size: during the first ones, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast.The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships  and perhaps as many as sixty huge Treasure Ships and  nearly 28000men with thousands  of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ).&lt;br /&gt;
Compared to the first one, the second  voyage(1407-1409) was smaller with only 68ships sending  foreign envoys back home.&lt;br /&gt;
&lt;br /&gt;
Zheng He led the third voyage (1409-1411) visiting many of the same countries as the first one did, like Champa and Java. When fighting broke out there between his forces and those of a small kingdom, Zheng put down the fighting, captured the king and brought him back to China where he was released by the emperor and returned home duly impressed&lt;br /&gt;
&lt;br /&gt;
The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28,000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials ,translators and more than 27000 troops .&lt;br /&gt;
The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. &lt;br /&gt;
The sixth voyage began in 1421 and lasted for nearly two years.Then the expeditions were halted  due to the death of the Yongle emperor. sailed to many of the previously visited Southeast Asian  and  Indian  courts  and  stops  in  the  Persian  Gulf,  the  Red  Sea,  and  the  coast  of  Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique.&lt;br /&gt;
The  seventh  and  final  voyage  (1431-33)  was  sent  out  by  the  Yongle  emperor's  successor,  his grandson the Xuande emperor.It was on this return  trip that Zheng He died.This expedition had more than one hundred large ships and over 27,000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died  and  was  buried  at  sea,  although  his  official  grave  still  stands  in  Nanjing,  China.  Nearly forgotten  in  China  until  recently,  he  was  immortalized  among  Chinese  communities  abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god.&lt;br /&gt;
&lt;br /&gt;
'''Vocabulary list'''&lt;br /&gt;
The Yongle emperor 永乐皇帝（明成祖）&lt;br /&gt;
Java 爪哇&lt;br /&gt;
Ceylon 锡兰（今斯里兰卡）&lt;br /&gt;
Champe 占城（印度支那古国）&lt;br /&gt;
Hormuz 霍尔木兹&lt;br /&gt;
The Persian Gulf 波斯湾&lt;br /&gt;
Medina 麦地那市（沙特阿拉伯西部城市）&lt;br /&gt;
Mecca 麦加 （穆斯林圣地）&lt;br /&gt;
&lt;br /&gt;
''' Questions'''&lt;br /&gt;
1.What was Zheng He like?&lt;br /&gt;
2. Why did the Yongel Emperor sent the armada  to the “Western oceans”&lt;br /&gt;
3.How many people did Zheng He bring at the first voyage ,and what did these people do?&lt;br /&gt;
4.Why did the expeditions stopped during the 1423-1430?&lt;br /&gt;
5.The last trip was sented by?&lt;br /&gt;
&lt;br /&gt;
==Xie Fan 解帆==&lt;br /&gt;
&lt;br /&gt;
===China's Four Great Classical Novels===&lt;br /&gt;
&lt;br /&gt;
The Four Great Classics of Chinese Classical Novels, abbreviated as the Four Great Classics, are Water Margin, Romance of The Three Kingdoms, The Journey to the West, and A Dream of Red Mansions (in the order of their completion).&lt;br /&gt;
&lt;br /&gt;
The Four Great Classical Novels are the classics of Chinese literary and precious cultural heritage of the world. The status of these four masterpieces in the history of Chinese literature is difficult to distinguish with their high level of literature and artistic achievements. The meticulous portrayal and the profound thoughts contained in these four masterpieces have been praised by readers in history. The stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. They can be described as four great monuments in the history of Chinese literature.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Water Margin====&lt;br /&gt;
&lt;br /&gt;
====Romance of the Three Kingdoms====&lt;br /&gt;
&lt;br /&gt;
====The Journey to the West====&lt;br /&gt;
&lt;br /&gt;
====A Dream in Red Mansions====&lt;br /&gt;
&lt;br /&gt;
==Xu Jia 徐佳==&lt;br /&gt;
&lt;br /&gt;
===Four Folk Stories of ancient China===&lt;br /&gt;
&lt;br /&gt;
Cowherd and Weaving Girl, Meng Jiangnu Crying on the Great Wall, the Story of the White Snake and Butterfly Lovers are the four major folk love stories in ancient China. As the most charming oral traditions and national intangible cultural heritage in China, the earliest of them has been popular for more than 2000 years, having a profound impact on people’s lives.&lt;br /&gt;
&lt;br /&gt;
1. Cowherd and Weaving Girl&lt;br /&gt;
&lt;br /&gt;
2. Meng Jiangnu Crying on the Great Wall&lt;br /&gt;
&lt;br /&gt;
3. The Story of the White Snake&lt;br /&gt;
&lt;br /&gt;
4. Butterfly Lovers&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====Cowherd and Weaving Girl====&lt;br /&gt;
&lt;br /&gt;
It is said that the story took place in the Western Zhou Dynasty. Cowherd was a simple and honest young man living in the Xiniu village of Nanyang city. His parents died early, so he lived a miserable life with an old ox. One day, Weaving Girl, the daughter of the God of Heaven, came down with other fairies from heaven and took a bathe in a river near Cowherd’s house. The old ox told the Cowherd to steal her clothes so that she was unable to return to the heaven and would stay here to be his wife. With the help of the old ox, Weaving Girl married Cowherd and had a son and a daughter. They led a happy life with husband laboring in the field and wife weaving at home. But their marriage didn't last long. It was discovered by the Queen Mother and incurred her wrath. Ignoring tearful Cowherd and two crying children, she broke up the couple and brought Weaving Girl back. It was the old ox that helped him again. It told Cowherd that it would die tonight and he needed to make three pair of shoes with its skin, which could help him go to heaven and find his wife.  Cowherd did as the old ox said. Just as the cowherd was about to catch up with them, however, the Queen Mother took off her golden hairpin and separate them by a large river, which is now called the Milky Way. Hopelessly, the two lovers can only look at each other across the river. Fortunately, magpies were touched by their love. Hundreds of thousands of magpies flied and formed a bridge over the river. Finally the Queen Mother showed a little mercy, allowing them to meet once a year on the magpie bridge. The day was the seventh day of the seventh lunar month, which later has become the Chinese Valentine’s Day. &lt;br /&gt;
&lt;br /&gt;
====Meng Jiangnu Crying on the Great Wall====&lt;br /&gt;
&lt;br /&gt;
During the reign of the first emperor of Qin Dynasty, Fan Xilang, a young man living in the surrounding area of Mengjiang mountain in Lizhou County, Hunan Province, had just finished the forced servitude and returned to his hometown to get married. But unfortunately, on the night of their wedding, Fan Xilang was sent to the north to build the Great Wall. He toiled away with hunger, cold and fatigue, and soon met a miserable death at the end of his efforts. His body was buried under the Great Wall. &lt;br /&gt;
Meng Jiangnu, Fan’s new wife, got the bad news and went through all kinds of hardships to reach the Great Wall. She cried bitterly there for three days and three nights, and finally cried down the Great Wall and found her husband's remains. On her way to take him home, she suffered a lot and finally died of hunger and thirst in Tongguan County,  Shaanxi Province. Sympathetic with the couple’s miserable experience and deeply moved by Meng’s spirits, the local people buried their remains and set up ancestral temples to commemorate them.&lt;br /&gt;
&lt;br /&gt;
====The Story of the White Snake====&lt;br /&gt;
&lt;br /&gt;
Created in the Southern Song Dynasty and prevailed in the Qing Dynasty, the Story of the White Snake is a model of Chinese folk collective creation. In the book Stories to Warn Man compiled by Feng Menglong, The White Snake under the Leifeng Pagoda has been acknowledged as the first version of this story.&lt;br /&gt;
After thousands of years of practice in Emei Mountain, two snake named Bai Suzhen and Xiaoqing translated into two beautiful girls and came to visit Hangzhou. After encountering with a young man named Xu Xian in the rain, Bai Suzhen fell in love with him and soon later they get married. But a monk called Fahai saw through Bai’s disguise and thought that it was an intrigue of the white snake to marry a man. He persuaded Xu Xian to intoxicate his wife with realgar wine on the Dragon Boat Festival. After being drunk, Bai Suzhen couldn’t  control herself  and showed the shape of a snake, which scared Xu Xian to death. Regardless of her own safety, Bai Suzhen went through many difficulties and got the magical grass, which finally brought Xu Xian back to life.&lt;br /&gt;
But Fahai did not give up. He then lured Xu Xian to the Jinshan Temple to separate the couple. Bai Suzhen and Xiao Qing had no choice but to inundate the temple with flood. During the fierce battle, Bai was finally defeated and put into a small bowl under the Leifeng Pagoda. &lt;br /&gt;
&lt;br /&gt;
====Butterfly Lovers====&lt;br /&gt;
&lt;br /&gt;
During the Eastern Jin Dynasty, Zhu Yingtai, a beautiful and intelligent girl born in a rich family in Shangyu County, Zhejiang Province, wanted to go to Hangzhou to study for there was no good teacher at home. Her father, seeing her eagerness to learn and her ability to disguise herself as a man, finally agreed to her request. On the way to Hangzhou, Zhu Yingtai met Liang Shanbo, a young man who had the same destination with her. He was sincere, gentle and knowledgeable and they clicked immediately. During the school years, they often talked about poetry and articles, cared for each other, and slept in the same bed at night. Zhu had gradually fallen in love with Liang, who, though did not know she was a girl, also cherished her and saw her as his best friend. &lt;br /&gt;
Three years passed quickly. The moment when they had to part, Zhu constantly gave delicate indications to Liang that she was a girl and she loved him, but Liang failed to take her hint. Zhu had no choice but to lied to Liang that she had a little sister who was similar to her in appearance and learning and she wondered if Liang was willing to marry her. Liang Shanbo readily consented and promised that he would come to visit soon. A months later, Liang Shanbo went to Zhu's home and he was surprised to see Zhu Yingtai dressed up as a girl. Only then did he know the truth and figured all the things out. They then confessed their love to each other and pledged to marry without the permission of parents. &lt;br /&gt;
But unfortunately, Zhu’s parents didn’t think much of this poor young man. They wanted to marry their daughter to Ma Wencai, the son of the local governor. Zhu Yingtai was unwilling to marry him but her protest was in vain, for her family was in financial crisis and needed Ma’s support. Hopelessly, the two young lovers was forced to part in tears. Since then, Liang slid into a depression. His spirit and health were soon crushed, and he died a few months later. On the wedding day, Zhu asked for a detour to pass by Liang 's tomb so that she could say goodbye to him. Wearing a bright red wedding dress, she knelt in front of his grave and cried bitterly. At that moment, lighting flashed, thunder rolled and the sky went dark. Liang's tomb suddenly cracked open and Ying-tai immediately jumped into it before it closed. Then under the shocked eyes of the onlookers, a pair of beautiful butterflies flied out of the graves and dancing in the sunlight. It is believed that these two butterflies are Liang Shanbo and Zhu Yingtai. They finally get rid of all the shackles and bounds and can stay together forever.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Having been adapted into many films and TV plays, these four stories are well-known in China and the rest of the world. As the crystallization of folk culture, they not only represent the rich imagination of ancient Chinese people, but also show their hatred for evil forces and their pursuit for a free and happy life, which is exactly the positive part of folk literature.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Vocabulary List===&lt;br /&gt;
&lt;br /&gt;
Cowherd and Weaving Girl  牛郎织女&lt;br /&gt;
&lt;br /&gt;
Meng Jiangnu Crying on the Great Wall  孟姜女哭长城&lt;br /&gt;
&lt;br /&gt;
Butterfly Lovers 梁山伯与祝英台&lt;br /&gt;
&lt;br /&gt;
the Queen Mother 王母娘娘&lt;br /&gt;
&lt;br /&gt;
Stories to Warn Man 《警世通言》&lt;br /&gt;
&lt;br /&gt;
The White Snake under the Leifeng Pagoda 《白娘子永镇雷峰塔》&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.What led to the death of Meng Jiangnu’s husband?&lt;br /&gt;
&lt;br /&gt;
2.What did Xu Xian give Bai Suzhen to drink that made her reveal her snake form?&lt;br /&gt;
&lt;br /&gt;
3.What did the Cowherd do to make Weaving Girl stay?&lt;br /&gt;
&lt;br /&gt;
4.When did Liang Shanbo realize that Zhu Yingtai is actually a girl?&lt;br /&gt;
&lt;br /&gt;
5.Why did Zhu Yingtai lie to Liang Shanbo that she has a little sister?&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
'''Four Great Pavilions'''--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 06:21, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Chenting 杨晨婷==&lt;br /&gt;
Chinese 4 great towers&lt;br /&gt;
A. origin&lt;br /&gt;
B. development&lt;br /&gt;
--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:17, 2 November 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
==Yang Hairong 杨海容==&lt;br /&gt;
Nanjing, An Ancient Capital of Six Dynasties--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:28, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Hui 阳慧==&lt;br /&gt;
&lt;br /&gt;
 The Five Constant Virtues--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:23, 5 December 2020 (UTC)&lt;br /&gt;
Owning over thousands of years of history, the Chinese have created a brilliant history and culture, and at the same time have formed their own moral code that has played an important role in social development and progress. This is what we call Traditional Virtues, which still have great significance today and whose value to the development of human civilization is now widely recognized. &lt;br /&gt;
Benevolence , righteousness, propriety, wisdom and fidelity are the Five Constant Virtues which are the most important ones in traditional China. They all came from Confucianism and are widely acknowledged all over China. To be a moral person, the ancient Chinese cultivated and test themselves according to the Five Constant Virtues and carried them down to the modern life.&lt;br /&gt;
&lt;br /&gt;
Benevolence (Ren)&lt;br /&gt;
Benevolence is the first and most important virtue among the Five Constant Virtues. It manifests itself in the inner mind in love and compassion for people and in avoiding &lt;br /&gt;
harm or envy toward anyone. In terms of behavior, benevolence demands that one be amiable, not argue angrily with others nor do evil deeds.To cultivate one‘s virtue of Benevolence one should use another Confucian version of the Golden Rule: What one does not wish for oneself, one ought not to do to anyone else; what one recognizes as desirable for oneself, one ought to be willing to grant to others. Virtue, in this Confucian view, is based upon harmony with other people, produced through this type of ethical &lt;br /&gt;
practice by a growing identification of the interests of self and other. In short, as parents &lt;br /&gt;
treat their children, the benevolent person spares no effort to help others; one even lays down one’s life to this end, with no thought of being repaid.&lt;br /&gt;
&lt;br /&gt;
Righteousness (Yi)&lt;br /&gt;
 Among his teachings, Confucius emphasized righteousness which is the ability to distinguish between right and wrong. Righteousness can be thought of as similar to what is often referred to as a “conscience”or “justice”. Confucius believed that actions should be taken on the basis of whether the act is morally right or wrong as opposed to whether it will provide profit or utility to an individual or group. Above all righteousness is about preserving one’s integrity.&lt;br /&gt;
&lt;br /&gt;
Propriety (Li)&lt;br /&gt;
 Propriety means ceremony or correct behavior. The contents of propriety include loyalty, filial piety , fraternal duty, respect, etc. Originating in ancient sacrificial rites, propriety, in a general sense signifies behavioral norms which maintain hierarchy. Inancient society, besides the relation of monarch and subjects, there were also the relations of father and sons, husband and wife, the elder and the young, teacher and students, and others. These relations differ but all demand modest respect to others&lt;br /&gt;
&lt;br /&gt;
Wisdom (Zhi) &lt;br /&gt;
Wisdom is the knowledge by which one judges right and wrong, good and evil. The saint define the personality of “the wise” as “a wise man free from confusions”. The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different &lt;br /&gt;
paths. That is to say, the wisdom concerns not only one person's ability and aptitude, but also hismoral cultivation. Confucius also pointed out that the acquisition of &amp;quot;wisdom&amp;quot; lies in learning, which can be obtained from both books and life.&lt;br /&gt;
&lt;br /&gt;
Fidelity (Xin)&lt;br /&gt;
 Fidelity is honesty. This means that, externally, one’s deeds match one’s words; and that internally one’s words and mind are in unison. Fidelity is a key to the perfection of human nature. It is the basis without which other virtues lose their authenticity ; hence they are inseparable. Fidelity is natural in a child, but might be lost due to external influences. &lt;br /&gt;
&lt;br /&gt;
Expressions and Terms&lt;br /&gt;
Five Constant Virtues五常&lt;br /&gt;
benevolence 仁      &lt;br /&gt;
righteousness 义 &lt;br /&gt;
propriety礼&lt;br /&gt;
wisdom 智  &lt;br /&gt;
fidelity 信 &lt;br /&gt;
moral code 道德准则&lt;br /&gt;
filial piety  孝道&lt;br /&gt;
&lt;br /&gt;
Questions&lt;br /&gt;
1.what does the Five Constant Virtues refer to ? &lt;br /&gt;
2. In terms of behavior. what does Benevolence demand ? &lt;br /&gt;
3. What do the contents of the Propriety include ? &lt;br /&gt;
4. What is the real man of the wisdom ? &lt;br /&gt;
5. Where does the Five Constant Virtues come from ?&lt;br /&gt;
&lt;br /&gt;
==Yang Yue 杨悦==&lt;br /&gt;
&lt;br /&gt;
Cheongsam--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:16, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Ziling 杨子泠==&lt;br /&gt;
&lt;br /&gt;
'''The Folding Screen''' --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 08:58, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''1.1 Introduction '''&lt;br /&gt;
&lt;br /&gt;
Folding screens are a kind of flexible furniture and composed of several frames or panels linked together. They serve practical and decorative functions, being made from various materials and in many styles. Folding screens originated in ancient China. Written references date from around the 4th century BC, during the Han dynasty, but they were probably used earlier. &lt;br /&gt;
&lt;br /&gt;
'''1.2 History and Technology'''&lt;br /&gt;
&lt;br /&gt;
Screens date back to China during the Eastern Zhou period (711-256BCE). They were one-panel screens rather than folding screens then. The origin of folding screens, however, could be traced to the Han dynasty (206 BCE - 200 CE). Depictions of them have been found in Han-era tombs, such as one in Zhucheng, Shandong Province. Initially used as room separators painted with serious works, folding screens weren't designed to move around very often. They were initially made of wooden panels and decorated with fine art. Many themes are painted on the panels, such as mythology, scenes of palace life, and nature, making them more of a piece of furniture.  It is often associated with intrigue and romance in Chinese literature, for example, a young lady in love could take a curious peek hidden from behind a folding screen. Examples of such romantic occasions can be seen in the classical novel Dream of the Red Chamber of Cao Xueqin. The folding screen is also an important element in Tang literature. Li He, the Tang Poet, wrote the &amp;quot;Song of the Screen&amp;quot; (屏风曲), in which he described a folding screen of a newly-wed couple. The folding screen surrounded the bed of the young couple, and its twelve panels were adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges resembling glass coins. There are heavy wooden structures with other decorations pulled through holes near the edges of the panels. The design is prominent, and the frame is frequently vertical with individual designs and pleasing patterns.  &lt;br /&gt;
They were made flexible when an ingenious system of strong paper hinges were integrated in the panel construction, which made folding patterns reversible. The panels were brought closer by the paper hinges, which reduce the need for frames separating panels and allow a horizontal orientation of the picture plane. This provides creative approaches to the various spatial relationships of the panels.&lt;br /&gt;
&lt;br /&gt;
'''1.3 Uses'''&lt;br /&gt;
&lt;br /&gt;
Folding screens serve many purposes, such as for tea ceremonies, as backgrounds for concerts or dances, as enclosures for Buddhist rites, and in outdoor processions. Different functions have their own types.&lt;br /&gt;
Although originated in China, folding screens are now used in many interior designs around the world. People first used them also in some practical ways, such as preventing draft in homes, as shown by the two characters in their name: ping(屏 &amp;quot;screen; blocking&amp;quot;) and feng (风 &amp;quot;breeze, wind&amp;quot;). People would also use them to bestow a sense of privacy; in old times, they would often be placed in rooms serving as dressing screens for ladies. &lt;br /&gt;
&lt;br /&gt;
Folding screens can be put up as to divide a large space and change the configuration of the room. They could also be used as a false way set up at the entrance of a room to create a desirable atmosphere by hiding certain features like doors to a kitchen. Now that many folding screens are design with fine art, they serve the decorative purposes well in the interior features of a home.&lt;br /&gt;
&lt;br /&gt;
'''1.4 Spread'''&lt;br /&gt;
&lt;br /&gt;
After becoming popular in China, folding screens spread to other parts of the world, including East Asia and later Europe. In the 7th century, they appeared in Japan for the first time during the reign of Emperor Tenmu, and they were presented to the Korean kingdom of Silla as a gift. By the 8th century, they had gained such popularity in Japan that Japanese artists began to make their own, very much influenced by Chinese design. Different sizes served different purposes: small 2-fold screens were often used for the tea ceremony and a larger 8-fold screen could be used as backdrops for dances. Japanese screens were lighter, often made of silk or even paper. Folding screens from the Far East spread to Europe at the very beginning of the 17th century. Owing to their practical functions and the distinguished decoration, they drew a lot of attention. The famous designer Coco Chanel was totally enchanted by Coromandel screens. She was well-known for her collection of Chinese folding screens. She possessed 32 folding screens, 8 of which were preserved in her apartment in Paris. She once stated:   “I’ve loved Chinese screens since I was eighteen years old. I nearly fainted with joy when, entering a Chinese shop, I saw a Coromandel for the first time. Screens were the first thing I bought.“ By the early 18th century, European craftsmen had already begun making folding screens on their own. They made folding screens in less expensive painted versions instead using lacquer techniques. At that time, leather screens were fashionable, but their popularity didn't last long, only to be restored around 1860 during the reign of Napoleon III with the wave of Japonism that inspired a number of French artists. In the 20th century when new modern heating means were invented, the functions of the folding screen became mostly decorative.&lt;br /&gt;
&lt;br /&gt;
'''Expressions and Terms'''&lt;br /&gt;
&lt;br /&gt;
Dream of the Red Chamber 《红楼梦》&lt;br /&gt;
&lt;br /&gt;
the Korean kingdom of Silla 朝鲜新罗王国&lt;br /&gt;
&lt;br /&gt;
Emperor Tenmu 天武天皇 &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''1.5 Questions'''&lt;br /&gt;
&lt;br /&gt;
1. When did folding screens first appear?&lt;br /&gt;
&lt;br /&gt;
2. How are folding screens associated with romance in Chinese literature?&lt;br /&gt;
&lt;br /&gt;
3. What functions do screens serve?&lt;br /&gt;
&lt;br /&gt;
4. When did they spread to Europe?&lt;br /&gt;
&lt;br /&gt;
5. How did European craftsmen make folding screens?&lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
Panda--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
'''Legalism'''--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 08:29, 18 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''1.Representative figures'''&lt;br /&gt;
&lt;br /&gt;
'''2.Values'''&lt;br /&gt;
&lt;br /&gt;
'''3.Works'''&lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
&lt;br /&gt;
'''Vocabulary List'''&lt;br /&gt;
&lt;br /&gt;
'''Questions'''&lt;br /&gt;
&lt;br /&gt;
==Yu Ni 余妮==&lt;br /&gt;
&lt;br /&gt;
===Four Famous Bridges in China—中国四大名桥===--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:16, 1 December 2020 (UTC)&lt;br /&gt;
===Introduction===&lt;br /&gt;
China is the hometown of bridges, which has been called &amp;quot;the country of bridges&amp;quot;. It was developed in the Sui Dynasty and flourished in the Song Dynasty. The bridges all over the land of china were woven into a traffic network extending in all directions, connecting the motherland in all directions. Many of the architectural arts of ancient Chinese bridges are pioneering works in the history of bridges in the world, which fully demonstrates the extraordinary wisdom of the ancient Chinese working people. Guangji Bridge in Chaozhou city (alose called Xiangzi Bridge), Zhaozhou Bridge in Hebei province, Luoyang Bridge in Quanzhou city and Lugou Bridge in Beijing are known as the four ancient bridges in China.&lt;br /&gt;
===Zhaozhou Bridge===&lt;br /&gt;
Zhaozhou Bridge, also known as Anji Bridge, is the oldest long-span stone arch bridge in China. The bridge was built on the Xiaohe River, Hebei Province. From a distance, it looks like a bright moon in the clouds and a rainbow after rain hanging in the sky, beautiful and spectacular. Built in the Sui Dynasty, it was built by Li Chun, a famous craftsman. With a length of 64.40 meters and a span of 37.02 meters, it is the largest span and the earliest single-span stone arch bridge with open shoulder in the world. Li Chun creatively used the flat arch style, so that the stone arch height was reduced to 7.23 meters, and the ratio of arch height to span was about 1:5. In this way, the slope of the bridge deck is gentle, which is convenient for vehicles, horses and pedestrians. Moreover, it has the advantages of saving materials, fast construction, and increasing the strength and stability of the bridge.&lt;br /&gt;
Zhaozhou Bridge has been there 1400 years ago. It has experienced 10 times floods, 8 times wars and many earthquakes, but it has not been damaged. Mao Yisheng, a famous expert in bridges, said that regardless of the internal structure of the bridge, surviving for more than 1300 years explains everything. According to records, Zhaozhou Bridge has been repaired eight times since its completion. Two small arches are added at both ends of the main arch, one is to save materials, the other is to reduce the weight of the bridge body, and to increase the discharge of the river under the bridge. In order to protect Zhaozhou Bridge, at the end of last century, the new bridge built 100 meters away from Zhaozhou Bridge still follows its style, but the number of small arches on the main arch is increased to five on one side. In order to increase the flood discharge capacity, Li Chun also showed ingenuity by setting two small arches on each shoulder of the large arch. It can not only save stone and reduce the weight of the bridge body, but also help to discharge the flood, so as to achieve the perfect unity of architecture and art. It has become a great achievement of bridge engineering technology in China, which is more than 1200 years earlier than the similar arch bridge built in Europe in the middle of 19th century. In addition, there are flowers and animal head patterns carved on the balustrade of the bridge. The image is very exquisite and can be called the Sui and Tang Dynasties sculpture art masterpiece. The success of Zhaozhou Bridge has a wide and far-reaching influence on traffic, architecture and art. &lt;br /&gt;
===Luoyang Bridge===&lt;br /&gt;
Quanzhou is a famous city with a history of more than 1700 years. As early as the Tang and Song Dynasties, Quanzhou was known as an important trading port. Merchants, scholars and missionaries from all over the world came to Quanzhou, leaving many precious historical and religious relics and classical buildings. Luoyang Bridge, also known as “Wanan bridge”, was built by the governor Cai Xiang in the Northern Song Dynasty and completed in six years. Because it is difficult to build a bridge at the confluence of the river and the sea, the river is wide and deep, and the project is arduous. The bridge is 834 meters at length and 7 meters at width. There are Zhaohui temple and Zhenshen temple in the north of the bridge, and Caixiang temple in the south of the bridge. In 1988, it was listed as one of the national key cultural protection units and one of Quanzhou’s world cultural heritage sites. &lt;br /&gt;
It was very difficult to build Luoyang Bridge at first. Because the river is wide and the current is swift, sometimes there is wind tide, the water potential is dangerous. Before the construction of the bridge, people came and went by ferries, which often capsized. In order to pray for the safety of the transition, the ferry here was named Wanan Du, so the bridge was also named Wanan Bridge after its completion. Therefore, it was also named Luoyang Bridge because it was built on the Luoyang River. There are many innovations in the construction technology and technology of Luoyang bridge, the raft foundation style, the application and development of wedge pier and the use of oyster to cement bridge pier. After its completion, it has become an important channel of communication between Quanzhou and the mainland. Therefore, Luoyang Bridge has the reputation of “Wan An Ji Zhong”. Under the influence of the completion of Luoyang Bridge, there has been an upsurge of bridge construction in Fujian province, especially in Southern Fujian. Dozens of large and medium-sized stone girder bridges have been built. &lt;br /&gt;
===Lugou Bridge===&lt;br /&gt;
Lugou Bridge is the oldest stone multi-hole arch bridge in Beijing, which has a history of more than 800 years. In the Jin Dynasty, Lugou river was an important transportation point from north to south. There are 11 bridge holes in the whole bridge, and the span and height of each hole are not the same. As early as the Jin Dynasty, this bridge was listed as one of the “Eight Sights of the capital”.&lt;br /&gt;
The bridge deck of Lugou Bridge is slightly curved with lower ends and uplift in the middle. The lower riverbed of the bridge is paved with pebbles and quartz sand. The whole bridge is built on it, which is very solid and stable. A large stone lion is carved on the top of the pillar, and some small stone lions are carved on the head, under the feet or on the back of the breast. The two ends of the bridge are used as drum-shaped stone block. At the east end are two big stone lions and the west end are two big stone elephants which are huge and charming. In addition to the stone lion and stone statue on the top of the fence, there is a 4.65-meter-high ornamental table, which looks like meeting and seeing off pedestrians.&lt;br /&gt;
As the oldest stone arch bridge in Beijing and the place where the whole nation’s Anti-Japanese war broke out, Lugou bridge is not only an important cultural resource in Fengtai District, but also a memorial place for major national activities. Bearing rich historical resources, Lugou bridge has become important to publicize the revolutionary tradition of the Chinese nation and carry out patriotic education. Standing on the Lugou Bridge, you can see the surrounding city, the memorial hall of the Chinese people’s Anti-Japanese War, the Yongdinghe River ferry wharf, the pinghan railway bridge site, and the Anti-Japanese War sculpture garden, which together constitute a spectacular historical and cultural map.&lt;br /&gt;
===Guangji Bridge===&lt;br /&gt;
Guangji Bridge is located at the east gate of the ancient city of Chaozhou, Guangdong Province. Commonly known as Xiangzi bridge. Crossing the vast Hanjiang River, it is an important transportation hub of Fujian and Guangdong. With its unique style of “18 shuttle boats and 24 continents”, it is praised as “the earliest open-close bridge in the world” by famous bridge expert Mao Yisheng.&lt;br /&gt;
There is also a square white marble pavilion on both sides of the bridge, and each column has a dragon carving. In particular, on the stone tablet of the imperial stele Pavilion at the east end of the bridge, the inscription “Lugou Xiaoyue” written by Emperor Qianlong of Qing Dynasty is the most famous. Stone lions and stone pavilions at both ends of the bridge, together with Chinese totem pillar, constitute the bridgehead buildings with national characteristics. Marco Polo, an Italian at the end of the 13th century, praised Lugou Bridge as “a beautiful stone bridge in Hanbali”. It is the oldest existing large-scale double-arch long bridge in northern China. “Lugou Xiaoyue” is also one of the famous “Eight Sights of Yanjing”.&lt;br /&gt;
There are many folklores about Guangji Bridge. One of the legends is “the immortal Buddha builds the bridge”. That is, after Han Yu came to Chaozhou in the Tang Dynasty, in order to communicate with the two sides, he asked his nephew Han Xiangzi and other eight immortals to build a bridge with Guangji monk in Chaozhou. Due to the failure of his magic power, the middle section could not be connected. Monk Guangji and He Xiangu, one of the eight immortals, were connected with 18 shuttle boats by using lotus flowers as giant cables. Therefore, the bridges were called “Xiangzi bridge” and “Guangji Bridge” respectively. Where their magic power failed, there were “Wuyang mountain” (Fuyang town) and “pig mountain” (Huxi town).&lt;br /&gt;
The second legend is that Wang Yuan removed the strange stones. Wang Yuan was the magistrate of Chaozhou who presided over the large-scale bridge repair in the seventh year of Xuande of the Ming Dynasty. He built “24 towers” on the bridge, which was known as “the first bridge in the south of the Yangtze River”. Due to the large amount of stone needed to build the bridge, it was said that there were two strange stones on Hulushan mountain, which caused frequent fires and lawsuits in Chaocheng. So, he personally led people up the mountain, took the lead in smashing down two strange stones, and wrote a poem about removing strange stones. Wang Yuan’s move not only dispelled people’s fear of strange stones, but also solved part of the stone for bridge repair.&lt;br /&gt;
The third legend is “Wu Fu Gong Ji Shui”. The Duke of Wu was the governor of Chaozhou in the Daoxian period of Qing Dynasty. One year, because of the flood of Hanjiang River, Chaozhou City was in danger. He offered sacrifices to the water on the east gate and begged for the water to retreat. However, the water did not retreat. So, he threw his official hat and uniform into the water, indicating that he would live and die with the city. Strange to say, the flood receded at this time. Since then, people have set up his statue sacrifice in the east gate tower, and built a memorial archway of “people can't forget him” in the East Bridge of Xiangzi bridge.&lt;br /&gt;
&lt;br /&gt;
Many of China’s ancient and modern bridge science and technology have been in the forefront of the world’s bridge construction, and many bridge styles continue to have an impact on the world’s modern bridge construction. At the same time, it is a living treasure of cultural relics, recording a lot of precious information.&lt;br /&gt;
===Word and expressions===&lt;br /&gt;
&lt;br /&gt;
石拱桥 stone arch bridge&lt;br /&gt;
望柱 baluster&lt;br /&gt;
桥基 settlement&lt;br /&gt;
泄洪 flood discharging&lt;br /&gt;
桥墩 pier&lt;br /&gt;
抱鼓石 drum-shaped stone block&lt;br /&gt;
华表Chinese totem pillar &lt;br /&gt;
栏杆 balustrade&lt;br /&gt;
燕京八景 Eight Sights of Yanjin&lt;br /&gt;
启闭式桥梁 open-close bridge&lt;br /&gt;
&lt;br /&gt;
===Questions:===&lt;br /&gt;
&lt;br /&gt;
1.Which is is the oldest long-span stone arch bridge in China?&lt;br /&gt;
2.How many folklores are there about Guangji Bridge and what are they?&lt;br /&gt;
3.How long has Zhaozhou Bridge been there ?&lt;br /&gt;
4.Why did Li Chun use the flat arch style to build Zhaozhou Bridge?&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
&lt;br /&gt;
'''Milk Tea'''&lt;br /&gt;
&lt;br /&gt;
We live in a modern world with countless yummy food where youngsters can’t live without milk tea. There is even one popular cyber saying that goes like this:”Youngsters continue their lives by drinking milk tea.”&lt;br /&gt;
Milk tea, popular throughout the whole country, even the world, originated from bubble tea of Taiwan. Currently, we have entered “Milk Tea 4.0 Era”. Such an era has endowed milk tea with a brand-new meaning, becoming a cultural symbol pf modern civilization human life, especially youngsters’ lives, namely, a pursuit of identity recognition for youngsters.（李欣童.浅谈台湾奶茶文化的三十年变迁[J].传播力研究,2020,4(14):14-15.）&lt;br /&gt;
So, is milk tea really so miraculous? Is it really so tasty? We may as well discuss the past and current situations of milk tea!&lt;br /&gt;
&lt;br /&gt;
'''A.The Origin of Milk Tea'''&lt;br /&gt;
&lt;br /&gt;
Each school holds its own opinion about the origin, but in fact, if we carefully analyse the fact, we can easily find its true origin, that is---”Mongolia Milk Tea” drunk by nomadic tribes in Mongolia Plateau. Till now, the nomadic tribes living in Inner Mongolia Autonomous Region of PRC still treat visitors with milk tea, which is an unshakable traditional custom.&lt;br /&gt;
&lt;br /&gt;
'''B.The Development of Milk Tea'''&lt;br /&gt;
&lt;br /&gt;
Due to the rampant global expansion of British colonists, lots of oriental local products, including milk tea of China, were also transported to the occidental world. Later, it was improved and developed in Britain.&lt;br /&gt;
Since the introduction of milk tea into Britain, due to the distinction of climate and dietary habits, British gave up the utilization of spice, but mixed sundry kinds of tea to replace spice to make milk tea, and added maple sugar as condiment, thus giving birth to the rudiment of modern milk tea and its basic ingredients.（《世界著名奶茶大全》 厨影美食）&lt;br /&gt;
Later, Taiwan introduced milk tea.&lt;br /&gt;
In the spring of 1987, manager of a Taiwanese cold drink department---Ms. Lin Xiuhui of &amp;quot;Chunshuitang&amp;quot; , added local snack flour into milk tea, and after her successful promotion to consumers, Lin and her colleagues Shen Tonge, Lin Lingru and Wang Yufeng, were inspired by cooked flour whose shape is similar to black pearl, thus creating the name “Pearl Milk Tea”(Bubble tea, currently). Henceforth, the name full of aesthetic feeling was spread.（《世界著名奶茶大全》 厨影美食）&lt;br /&gt;
By far, modern milk tea has preliminarily come into shape.&lt;br /&gt;
&lt;br /&gt;
'''C.A Comparison of Oriental and Foreign Milk Tea'''&lt;br /&gt;
&lt;br /&gt;
'''1.Local Changsha Milk Tea'''&lt;br /&gt;
&lt;br /&gt;
When in Changsha, talk as Changshanese do, so let’s talk about Changsha local milk tea first. As we all know, Changsha is famed as an Internet celebrity city, mostly due to “Sexytea”. Sexytea was founded in 2013 as Changsha’s original Chinese style tea brand, uniquely practicing the creation of “new Chinese-style fresh tea”, and staying committed to growing to an original tea beverage design brand. What Sexytea brings to customers is not only a cup of tea, but also an interesting lifestyle, thus showing the beauty of China on the basis of tea. All Sexytea milk tea is produced with Nestle fresh milk and excellent quality tea leaves as ingredients.&lt;br /&gt;
The logo of Sexytea is mainly composed of a Jiangnan woman. A fan and a beauty vividly show the majesty and quaintness of antique Chinese style. Compared with other current milk tea brand logos, that of Sexytea has left a great impression on people.（茶颜悦色密码[J].国企管理,2020(20):68.）&lt;br /&gt;
The signature milk tea of Sexytea is “black tea latte”, comprised of Ceylon black tea, Zelanian Anchor whipping cream and American pecans. On the top of the paper cup is Anchor whipping cream with pecans. Black tea latte emphasizes both milk and tea, with each flavor balanced pretty well.&lt;br /&gt;
&lt;br /&gt;
'''2.Hong Kong-style milk tea'''&lt;br /&gt;
&lt;br /&gt;
The inventor of Hong Kong-style milk tea is Lin Muhe, the founder of the time-honored brand Lanfangyuan in Central, Hong Kong. The 81-year-old &amp;quot;Father of Hong Kong-style milk tea&amp;quot; has never used silk stockings to make tea. When Lanfangyuan was firstly opened, silk stockings were not yet fashionable in Hong Kong. When Lin Muhe was about 10 years old, he worked in Hong Kong, with his wife and a clerk opened Lanfangyuan Food Stall in Baihua Street of Central in 1952. During those days, the small stall always attracted nearby dockers every afternoon, who enjoyed themselves watching Lin Muhe and his colleagues washing their tea bags to and fro. When they saw the brown color of tea bags, they thought it was silk stockings. After that, they would shout &amp;quot;a cup of silk stockings milk tea&amp;quot;. This is the origin of silk stockings milk tea(currently Hong Kong-style milk tea).（《百度百科——丝袜奶茶》&lt;br /&gt;
&lt;br /&gt;
'''3.Indian Masala Chai'''&lt;br /&gt;
&lt;br /&gt;
Authentic Masala Chai can only be drunk in India, which is cooked by delicate handicrafts. Due to the addition of various spices, the taste is strong, mellow, hot and spicy at the beginning. However, if the flavor is slightly changed, it will be sweet or spicy, or the various flavors will react with each other. It is just as confusing as Indian curry, but pretty fascinating. Maybe this is what Masala Chai should be. Drinking Indian milk tea is not only a baptism to taste, but also a return to primitive nature.（《世界著名奶茶大全》 厨影美食）&lt;br /&gt;
&lt;br /&gt;
'''C.Milk Tea and Health'''&lt;br /&gt;
&lt;br /&gt;
'''1.Advantages'''&lt;br /&gt;
&lt;br /&gt;
Drinking milk tea can quickly supplement sugar, increase body energy, decrease fatigue and improve working efficiency.&lt;br /&gt;
&lt;br /&gt;
'''2.Disadvantages'''&lt;br /&gt;
&lt;br /&gt;
Drinking too much milk tea will increase the possibility of getting fat. It will also increase cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer if drunk for a long time.&lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
&lt;br /&gt;
1.李欣童.浅谈台湾奶茶文化的三十年变迁[J].传播力研究,2020,4(14):14-15&lt;br /&gt;
&lt;br /&gt;
2.《世界著名奶茶大全》  厨影美食  &lt;br /&gt;
&lt;br /&gt;
3.《百度百科——丝袜奶茶》&lt;br /&gt;
&lt;br /&gt;
4.茶颜悦色密码[J].国企管理,2020(20):68.&lt;br /&gt;
&lt;br /&gt;
'''Vocabulary List'''&lt;br /&gt;
&lt;br /&gt;
Milk tea 奶茶&lt;br /&gt;
&lt;br /&gt;
Spice  香辛料&lt;br /&gt;
&lt;br /&gt;
Rudiment 雏形&lt;br /&gt;
&lt;br /&gt;
Sexytea 茶颜悦色&lt;br /&gt;
&lt;br /&gt;
Black tea latte 幽兰拿铁&lt;br /&gt;
&lt;br /&gt;
Hong Kong-style milk tea 丝袜奶茶&lt;br /&gt;
&lt;br /&gt;
Cholesterol 胆固醇&lt;br /&gt;
&lt;br /&gt;
Hyperglycemia 高血糖&lt;br /&gt;
&lt;br /&gt;
Mongolian Plateau 蒙古高原&lt;br /&gt;
&lt;br /&gt;
Maple sugar 枫糖&lt;br /&gt;
&lt;br /&gt;
Bubble tea 珍珠奶茶&lt;br /&gt;
&lt;br /&gt;
Internet celebrity city网红城市&lt;br /&gt;
&lt;br /&gt;
Pecans 碧根果&lt;br /&gt;
&lt;br /&gt;
Masala Chai 马萨拉奶茶&lt;br /&gt;
&lt;br /&gt;
Hyperlipidemia 高血脂&lt;br /&gt;
&lt;br /&gt;
Angiocardiopathy 心血管疾病&lt;br /&gt;
&lt;br /&gt;
Gastrointestinal  肠胃的&lt;br /&gt;
&lt;br /&gt;
'''Questions'''&lt;br /&gt;
&lt;br /&gt;
1.What is the origin of milk tea?&lt;br /&gt;
&lt;br /&gt;
Mongolia Milk Tea.&lt;br /&gt;
&lt;br /&gt;
2.Who promoted milk tea?&lt;br /&gt;
&lt;br /&gt;
British colonists.&lt;br /&gt;
&lt;br /&gt;
3.What is the birth place of modern milk tea?&lt;br /&gt;
&lt;br /&gt;
Britain.&lt;br /&gt;
&lt;br /&gt;
4.What is Changsha’s most famous Internet celebrity milk tea shop’s name?&lt;br /&gt;
&lt;br /&gt;
Sexytea.&lt;br /&gt;
&lt;br /&gt;
5.Is Hong Kong-style milk tea produced with silk stockings?&lt;br /&gt;
&lt;br /&gt;
No.&lt;br /&gt;
&lt;br /&gt;
6.What are the advantages of drinking milk tea?&lt;br /&gt;
&lt;br /&gt;
Drinking milk tea can quickly supplement sugar, increase body energy, decrease fatigue and improve working efficiency.&lt;br /&gt;
&lt;br /&gt;
7.What are the disadvantages of drinking milk tea?&lt;br /&gt;
&lt;br /&gt;
Drinking too much milk tea will increase the possibility of getting fat. It will also increase cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer if drunk for a long time.&lt;br /&gt;
&lt;br /&gt;
==Zeng Liang 曾良==&lt;br /&gt;
Qingming Riverside Landscape Garden&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
===Batik(Lanran)===&lt;br /&gt;
&lt;br /&gt;
Batik is a traditional textile printing and dyeing craftsmanship in China. It was called wax valerian in ancient times, also known as one of the four ancient printing techniques which are twisted valerian (tie-dye), gray valerian (hollow printing), and clip-dyeing in ancient China.&lt;br /&gt;
&lt;br /&gt;
===History===&lt;br /&gt;
&lt;br /&gt;
According to Interpretation of &amp;quot;Laran&amp;quot; in the collection of Wang Aijun of Junyou Society: Batik is an ancient dyeing technique. It is called Batik in Indonesia or Malaysia. The patterns dyed by this method embody both decorative interests and practical values.&lt;br /&gt;
Batik art, with a long history, emerged in China. According to the records of the “Eryi Records”, Batik appeared in the Qin and Han Dynasties, and then became popular during the Six Dynasties. The court of the Sui Dynasty especially liked this kind of handicrafts, and special patterns appeared in this period.&lt;br /&gt;
As for the unearthed objects, which was even earlier than it was documented, was a quilt dyed with valerian and excavated in the tomb of Chu in the Warring States Period in Changsha. An unearthed piece of finished product originated in the Jin Dynasty, with overlapping patterns, which is the so-called agate-patterned silk in the Tang and Song Dynasties. Batik was especially popular in the Tang Dynasty, during which the technology was more mature than before. At that time, batik can be divided into two types: single-color dyeing and multi-color dyeing, the latter of which can use as many as four or five colors. Later generations can get a glimpse of the luxurious and beautiful batik patterns in the Tang Dynasty from clothes of two women in Song Huizong’s copy of The Painting of Pounding the Texture by Zhang Xuan, and horsemen’s clothes in The Painting of  Lady Guoguo on a Spring Outing.&lt;br /&gt;
Due to the great influence of Chinese culture in the Tang Dynasty on Japan, Nara’s Shosoin has preserved various treasures of Chinese craftsmanship since the Tang Dynasty, including a set of batik folding screen, which was brought back to Japan by a monk in the Tang Dynasty. &lt;br /&gt;
Batik has declined in China since the Song Dynasty, but it has become popular in various parts of Southeast Asia at the same time (especially in Java, Sumatra and other islands). So far, Indonesian and Malaysian clothes are almost all made of batik.&lt;br /&gt;
&lt;br /&gt;
===Types===&lt;br /&gt;
&lt;br /&gt;
China's batik is mainly distributed in Guizhou, Yunnan, Guangxi, Hainan, Sichuan, Hunan, Guangdong, Taiwan, Jiangxi provinces. Chinese batik has different types, such as type of Danzhai, Chonganjiang, Zhijin, Rongjiang, Southern Sichuan, Hainan, Wenshan, etc. The use, craft, pattern and style of batik vary from region to region.&lt;br /&gt;
&lt;br /&gt;
===Technical Process===&lt;br /&gt;
&lt;br /&gt;
===Materials ===&lt;br /&gt;
&lt;br /&gt;
===Patterns===&lt;br /&gt;
--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:38, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
===Chinese Ancient weapons===&lt;br /&gt;
===A.Chinese Ancient weapons===&lt;br /&gt;
In ancient China, there was a saying of “18 martial arts”, which actually refers to 18 kinds of weapons. Generally, it refers to bow, crossbow, gun, stick, knife, sword, spear, shield, axe, greataxe, dagger halberd, spiked mace, iron whip, bar mace, hammer, trident, palladium, and dagger axe. But the weapons in Chinese martial arts are far more than eighteen kinds, if you add all kinds of strange weapons and all kinds of hidden weapons, its total number is no less than a hundred kinds of fear.&lt;br /&gt;
&lt;br /&gt;
Short weapons &lt;br /&gt;
&lt;br /&gt;
The so-called short weapons are generally no longer than a person’s eyebrows, lighter in weight, and often held in one hand when used. The most common short weapons are knives and swords. &lt;br /&gt;
&lt;br /&gt;
Long Weapons &lt;br /&gt;
&lt;br /&gt;
The most common long weapons in the martial arts world are spears, stick, and swords. The cord strike concealed weapons are rope dart, meteor hammers, flying claws, soft whips, iron lotus flowers and so on.&lt;br /&gt;
&lt;br /&gt;
Historical Origins&lt;br /&gt;
&lt;br /&gt;
Generally speaking, Chinese ancient weapons refer to the various types of weapons and total equipment used by the Chinese army and civilians in ancient China from the prehistoric period to the end of the Qing Dynasty, that is, until the Opium War in 1840. Both Chinese and foreign studies of ancient weapons take the use of gunpowder as a historical phase, that is, before the invention of gunpowder, the weapons used in the army were called cold weapons. After the invention of gunpowder, the weapons made of gunpowder appeared, firearms. This was the period when cold weapons and firearms were used together. Ancient Chinese weapons can be roughly divided into three stages, the first is the prehistoric period, which is the Stone Age weapons.&lt;br /&gt;
After the beginning of bronze smelting and casting, the main material for weapons at this time began to change to bronze. The weapons of this period were the weapons of the Bronze Age. After people understood the smelting of metals, the main material of the weapons used by the army was changed to steel, and then it entered into the Iron Age.&lt;br /&gt;
During the Northern Song Dynasty, gunpowder began to be used in weapons. China was the home of gunpowder, and its army was the first to use gunpowder weapons.&lt;br /&gt;
After gunpowder came to the West, there was a great development. Therefore, the Dutch and Spanish merchant ships came to China and brought over advanced western firearms, and the Ming Army began to introduce western firearms production technology. After the Opium War, the Qing Dynasty started to train new soldiers, Yuan Shikai started to train new soldiers, and started to introduce new western firearms, the history of ancient Chinese weapons ended. The following is a specific introduction of several weapons.&lt;br /&gt;
&lt;br /&gt;
The meteor hammer &lt;br /&gt;
&lt;br /&gt;
The meteor hammer(Chinese: 流星錘), often referred to simply as meteor (Chinese: 流星), is an ancient Chinese weapon, consisting at its most basic level of two weights connected by a rope or chain. One of the flexible or &amp;quot;soft&amp;quot; weapons, it is referred to by many different names worldwide, dependent upon region, construction and intended use. Other names in use include dai chui, flying hammer, or dragon’s fist. It belongs to the broader classes of flail and chain weapons.&lt;br /&gt;
The meteor hammer could be easily concealed as a defensive or surprise weapon, being of a flexible construction. The primary advantage for using a meteor hammer was its sheer speed.&lt;br /&gt;
&lt;br /&gt;
Using a meteor hammer involves swinging it around the body to build up considerable speed before releasing the meteor to strike at any angle. Since the meteor has two heads, one could be used offensively while the other could be used to defend, parrying attacks or ensnaring an opponent’s weapon to disarm them. When used by a skilled fighter, its speed, accuracy and unpredictability make it a difficult weapon to defend against. While being swung, a meteor may be wrapped around its user’s arms, legs, torso, neck or waist, before being unwrapped by a powerful jerk of the body to deliver a devastating and swift blow. A master is fully capable of striking, ensnaring or strangling from a distance.&lt;br /&gt;
&lt;br /&gt;
Rope Dart&lt;br /&gt;
&lt;br /&gt;
The rope dart or rope javelin (simplified Chinese: 绳镖), is one of the flexible weapons in Chinese martial arts. Other weapons in this family include the meteor hammer, flying claws, Fei Tou flying weight, and chain whip. Although the flexible weapons share similar movements, each weapon has its own specific techniques.&lt;br /&gt;
Demonstration of the use of a rope dart.&lt;br /&gt;
The rope dart is a long rope (usually 3–5 metres or 10–16 feet) with a metal dart attached to one end. This was a weapon from ancient times, which allows the user to throw the dart out at a long-range target and use the rope to pull it back. The rope dart can be used for twining, binding, circling, hitting, piercing, tightening, slashing and other techniques.&lt;br /&gt;
&lt;br /&gt;
Rope dart play consists of twining, shooting, and retrieval. Twining and shooting can be done from any joint such as foot, knee, elbow, and neck. The rope is anchored on one hand and played primarily with the other hand.&lt;br /&gt;
&lt;br /&gt;
Skillful use of the rope dart can easily trick an opponent because the dart can shoot out very suddenly, from a person beyond immediate reach.&lt;br /&gt;
Just like the chain whip, excellent hand-eye coordination is a must for the practitioner to use this weapon well. In some Wushu training regimens, the chain whip and Changquan are prerequisites for learning the rope dart.&lt;br /&gt;
&lt;br /&gt;
A variation of this weapon is the meteor hammer, which has a blunt weight on the end of the rope. It was used in a similar fashion to the rope dart, and many of the techniques are the same.&lt;br /&gt;
&lt;br /&gt;
These ancient weapons have been replaced by newer weapons as they have evolved, and eventually their historical missions have come to an end. The ancient weapons that once equipped the military have been forgotten. So far, many people have only a glimpse of the ancient weapons from movies and plays.&lt;br /&gt;
&lt;br /&gt;
It is not uncommon for people to be forgotten. In fact, this kind of forgetfulness is quite normal, as weapons are not always the only thing that can be forgotten.&lt;br /&gt;
It is with the development of society that old things are naturally forgotten as they are continually being eliminated and renewed. We look forward to the development of more advanced weapons, more technological progress, and a stronger country!&lt;br /&gt;
===B.Terms and Expressions===&lt;br /&gt;
greataxe	钺&lt;br /&gt;
&lt;br /&gt;
trident	        叉&lt;br /&gt;
&lt;br /&gt;
dagger halberd	戟	&lt;br /&gt;
&lt;br /&gt;
spiked mace	殳&lt;br /&gt;
&lt;br /&gt;
soft whip	软鞭&lt;br /&gt;
&lt;br /&gt;
bar mace	锏&lt;br /&gt;
&lt;br /&gt;
dagger axe	戈&lt;br /&gt;
&lt;br /&gt;
rope dart	绳镖&lt;br /&gt;
===C.Questions===&lt;br /&gt;
1.	The total numbers of Chinese martial arts?&lt;br /&gt;
&lt;br /&gt;
Answer: The weapons in Chinese martial arts are far more than eighteen kinds.&lt;br /&gt;
&lt;br /&gt;
2.	The name of the first stage of Chinese weapons?&lt;br /&gt;
&lt;br /&gt;
Answer: The Stone Age weapons.&lt;br /&gt;
&lt;br /&gt;
3.	The other weapons in the family of rope dart?&lt;br /&gt;
&lt;br /&gt;
Answer: The meteor hammer, flying claws, Fei Tou flying weight, and chain whip.&lt;br /&gt;
&lt;br /&gt;
4.	How to use a meteor hammer?&lt;br /&gt;
&lt;br /&gt;
Answer: Using a meteor hammer involves swinging it around the body to build up considerable speed before releasing the meteor to strike at any angle.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:16, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Ling 张玲==&lt;br /&gt;
&lt;br /&gt;
==='''Terracotta Army'''===&lt;br /&gt;
&lt;br /&gt;
The Terracotta Army, also known as Qin Shi Huang’s Buried Sculpture Legion, refers to the thousands of life-size clay models of soldiers, horses, and chariots which were deposited around the grand mausoleum of Shi Huangdi, first emperor of China and founder of the Qin dynasty, located near Lishan in Shaanxi Province, central China. The Terracotta Warriors are actually soldiers guarding Emperor Qin Shi Huang’s mausoleum and protecting him in the afterlife. &lt;br /&gt;
&lt;br /&gt;
For centuries, Qin Shi Huang's massive mausoleum remained undetected until it was unearthed by chance by a group of farmers. In 1974, some farmers in the nearby Xiyang Village began digging a well o find a water resource on some waste land. At first, they found some unique red soil about 2-meter (6.6-feet) in depth underground. On the fifth day after the work started, they found a torso of a pottery figurine, and the villagers originally believed that it was a statue of god and became nervous about offending the god. Thereafter, they continued to find some bronze arrows, crossbows and broken warriors from the well. Prompted by this surprising find, archaeologists began to explore the area, resulting in the discovery of thousands of similar soldiers. After careful examination, they found that the pottery fragments should be parts of the Terracotta Warriors from Emperor Qin Shi Huang’s mausoleum.&lt;br /&gt;
&lt;br /&gt;
As the king of the Qin state, Qin Shi Huang (also known as Shi Huangdi) unified China from 221 BCE and then founded the Qin dynasty which is the first and multinational feudal empire in Chinese history. After he unified China, he considered his achievement surpassing the legendary &amp;quot;San Huang (three emperors)&amp;quot; and &amp;quot;Wu Di (five sovereigns)&amp;quot;. He created a new title for himself: &amp;quot;Huangdi&amp;quot; together with &amp;quot;Shi (means the first)&amp;quot;, hence get the name &amp;quot;Qin Shi Huang&amp;quot; or &amp;quot;Qin Shi Huangdi&amp;quot;, which means he was the first emperor of China. The emperor seems to have been especially keen on acquiring immortality, so he sent his ministers to go on quests seeking for an elixir of immortality, and young emissaries were sent across the Eastern Sea in search of the fabled Penglai, land of the immortals. Having failed in these attempts to unnaturally prolong his life, Shi Huangdi returned to the age-old standby of autocratic rulers and had a huge mausoleum built instead. In fact, the whole great project began early in his reign, for it required a great deal of work to prepare.&lt;br /&gt;
&lt;br /&gt;
Ancient Chinese rulers generally had two or three statues outside their tombs as guardians, but Shi Huangdi chose a large group of such statues. The Terracotta Army is actually one of only four in all likelihood as that portion so far excavated (1.5 km from the mausoleum) is on the eastern side and is probably duplicated on the other three sides of the mausoleum. Even this one-quarter section has not been fully excavated, and archaeologists have explored only three of the four pits. The main pit of the four which contain the discovered army measures 230 x 62 meters and is 4 to 6 meters deep. It had around 6,000 slightly larger than life-size depictions of infantrymen (1.8-1.9 metres tall), chariots and horses. The second pit, which is slightly smaller and R-shaped, had around 1,300 figures in it. Pit 3 is concave-shaped and consists of two wing-rooms, a chariot-house and around 70 figures. Judging from the internal layout of pit 3, it should be the headquarters of pit 1 and pit 2. The terracotta warriors can be divided into two categories: soldiers and military officials. Depending on the actual combat requirements, different types of warriors have different equipment. Most of them are clad in fine armor with bronze weapons in hand. The face shape, figure, expression, eyebrows, eyes and age of each terracotta warriors are different.&lt;br /&gt;
&lt;br /&gt;
Experts confirmed that the material used to mold the terracotta warriors and horses is the &amp;quot;yellow earth&amp;quot; from around the mausoleum. Yellow earth is a kind of suitable material with good cohesiveness and plasticity. And the addition of grit to the earth enhances its mechanical properties, making it easy to form large figures. The figures of the terracotta warriors were fired in kilns. For even heating, the Qin craftsmen left small holes in the proper places on the figure. During the firing, the craftsmen paid special attention to keeping the heat at 1,000 C (1,830 F). In addition, experts did a lot of experiments and found that during the firing, these figures were placed upside down in the kiln. This was because the upper part of the figure was heavier than the bottom. The terracotta warriors we see today are steel gray without fresh colors, but they actually were once colored. They were painted with natural pigments refined from minerals. Though having been buried underground for more than 2,200 years, they remained the bright colors after being unearthed at the beginning. However, because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. Historians theorize that the heads and bodies of warriors were manufactured on an assembly line production. This means that each individual part, such as the arms and legs, were made independently to speed up manufacturing. Then, after firing in the kiln, these different complete parts were assembled into one figure. Since each warrior's face was unique, it is believed that artisans added individual clay features on top of the mold for the face, perhaps based on real soldiers of the time.&lt;br /&gt;
&lt;br /&gt;
The terracotta figures of Qin Dynasty vividly and richly portray a variety of figures with certain characters. It is a symbol of the maturity of Chinese ancient molding art. It not only inherited the ceramic tradition of China since the Warring States period, but also laid the foundation for the prosperity of molding art in the Tang Dynasty. It serves as a connecting link between the preceding and the following. It is known as &amp;quot;the eighth wonder of the world&amp;quot; and &amp;quot;the treasure of ancient human spiritual civilization&amp;quot;. In 1987, the mausoleum of the first emperor of Qin Dynasty and the pits of terracotta warriors were approved by UNESCO to be included in the World Heritage List.&lt;br /&gt;
&lt;br /&gt;
==='''Terms and Expressions'''===&lt;br /&gt;
&lt;br /&gt;
1. Terrocotta army / Qin Shi Huang’s Buried Sculpture Legion  秦始皇兵马俑	&lt;br /&gt;
&lt;br /&gt;
2. chariot  n. 战车&lt;br /&gt;
&lt;br /&gt;
3. mausoleum	 n. 陵墓	&lt;br /&gt;
&lt;br /&gt;
4. Qin Shi Huang / Shi Huangdi  秦始皇&lt;br /&gt;
	&lt;br /&gt;
5. Pit 1  一号坑&lt;br /&gt;
&lt;br /&gt;
6 .Pit 2  二号坑&lt;br /&gt;
&lt;br /&gt;
7. Pit 3  三号坑&lt;br /&gt;
&lt;br /&gt;
8. kiln  n. 窑&lt;br /&gt;
&lt;br /&gt;
9. Eighth Wonder of the World  世界第八大奇迹&lt;br /&gt;
&lt;br /&gt;
10. World Heritage List 《世界遗产名录》&lt;br /&gt;
&lt;br /&gt;
==='''Questions'''===&lt;br /&gt;
&lt;br /&gt;
1. Why did Qin Shi Huang make the Terracotta Army?&lt;br /&gt;
&lt;br /&gt;
The purpose of Qin Shihuang's construction of the Terracotta Army is to have an army protect his mausoleum after his death.&lt;br /&gt;
&lt;br /&gt;
2. How were the Terracotta Army discovered?&lt;br /&gt;
&lt;br /&gt;
The Terracotta Army was discovered by chance by a group of farmers when they were digging a well.&lt;br /&gt;
&lt;br /&gt;
3. How many figures are in the Terracotta Army, and has the whole Terracotta Army been discovered?&lt;br /&gt;
&lt;br /&gt;
According to the estimate, there are more than 8,000 Terracotta Warriors, including about 6,000 from Pit 1, around 1,300 from Pit 2, and around 70 from Pit 3. However, these may be just a part of the whole Terracotta Army. With development in archeological technologies, it’s expected more Terracotta Warriors will be found in the future. &lt;br /&gt;
&lt;br /&gt;
4. How the terracotta warriors were made?&lt;br /&gt;
&lt;br /&gt;
The material used to mold the terracotta warriors and horses is a &amp;quot;yellow earth&amp;quot; sourced from around the burial sites. The heads and bodies of the warriors were made via assembly line production. Artisans used mud to make a rough cast and then put it into kilns.&lt;br /&gt;
&lt;br /&gt;
5. Were the terracotta warriors once colored?&lt;br /&gt;
&lt;br /&gt;
The Terracotta Warriors were once colored. They were painted with natural pigments refined from minerals.  But because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. &lt;br /&gt;
&lt;br /&gt;
6. Why is the Terracotta Army important?&lt;br /&gt;
&lt;br /&gt;
The Terracotta Army is an important part of the mausoleum of the first emperor in Chinese history. It’s the largest ancient military museum in China. It’s a treasure for studying ancient military science of China.&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
1.Bonsai&lt;br /&gt;
2.Vocabulary&lt;br /&gt;
3.Question&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
&lt;br /&gt;
TikTok（抖音） --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 08:31, 21 November 2020 (UTC)Zhang Weihong&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Douyin, (抖音, literally “shaking sound” in Chinese) is a short video media app owned by China’s young tech giant Bytedance (字节跳动). It is used for creating and sharing 15-second videos. The contents usually include challenges and funny videos. It is one of the few applications that has enjoyed wild popularity inside and outside China. In the first quarter of 2018, the international version of Douyin, Tik Tok, was the most downloaded iPhone app in the world. Although they were developed by the same parent company, they are actually not one and the same. Depending on which app store you have access to, you will only have access to one version of the app, Douyin (in Chinese app stores) and Tik Tok (in overseas app stores). The two apps host completely different content, and content is not shared between the platforms. But both versions of TikTok offer a wide selection of sounds and song snippets, along with the option to add special effects and filters. &lt;br /&gt;
The app allows users to create, edit, and share short videos as well as livestreams, often featuring music in the background. The most popular types of content on Douyin are dances, comedies, babies, food, pets, pranks, and stunts. The platform is based around ultra-short, user-posted videos with music that are 15 seconds in duration but can be strung together to make 60-second “stories.” In their videos, users can interact with the camera and sing along to a song of their choice from Douyin’s extensive music library. Showing off dance skills and comedy routines are also popular pastimes on the app. Unlike most video apps, there is no “play” or “pause” button on Douyin. Once you open the app, a video starts immediately. You scroll through a 15-second bottomless stream of videos, as does how you scroll through photos on Instagram. Therefore, many people will spend most of the time on the For You Page. Unlike other popular Chinese apps like Weibo and WeChat, where you have to actively follow specific accounts to be pushed toward their content, Douyin identifies users’ interests through a powerful recommendation algorithm that identifies users’ interests and preferences through their viewing behaviors. This is where the algorithm puts content in front of users, anticipating what they will enjoy based on content they have already engaged with. It's also where it shows content it thinks could go viral. The idea is that if the content is good it will travel, regardless of how many followers the creator has. &lt;br /&gt;
As we have mentioned before, Tik Tok is somehow similar to Instagram. But while their app fundamentals are alike, they have many features that distinguish them from each other. Time limit: TikTok currently does not have a long-form video feature. Instagram’s long-form video feature, IGTV allows video length of up to one hour. Users: Their users age range differs from each other, most TikTok users are younger than that of Instagram. Most TikTok users belong to generation Z and most Instagram users belong to generation Y. Community: compared to Instagram, the Tik Tok community is distinctly palpable. The app allows users to easily connect, create friendships, and collab with others. Each week something new trends, which enables virality and increases the potential for popularity. Creators have identified this supportive environment to grow followers and have left Instagram for Tik Tok.&lt;br /&gt;
 It’s clear that Tik Tok is making waves in the social app space. With an explosion of growth, Tik Tok is expected to continue a steep upward trend. Whereas this new app is enjoying its hockey stick trajectory, Instagram growth is slowly dropping in 2019. Several reasons why Douyin is so popular include:&lt;br /&gt;
Localized content - the app often runs local contests and challenges and captures local trends using localized hashtags. Douyin also sends personalised recommendations to each of its users. This ensures that Douyin users are always updated on the latest trending videos and are never out of ideas for video creation. &lt;br /&gt;
Easy content creation, sharing, and viewing - due to the short format, neither the video-creation nor the watching process takes much time or effort. Also, the short-form video content plays as soon as a user opens the app. &lt;br /&gt;
Celebrity endorsements - several celebrities, including Jimmy Fallon, have helped drive TikTok's popularity. &lt;br /&gt;
&lt;br /&gt;
There is no doubt that TikTok has had an impact on today’s world. It has become prevalent in schools, in the workplace, and in many other public venues. It is quite common to find someone either making a TikTok or doing one of the TikTok dances.&lt;br /&gt;
Moral Entertainment: The major advantage of TikTok is that it serves as a great source of entertainment. Overall, TikTok is a great app to help stay entertained, especially during the stress of the pandemic.&lt;br /&gt;
Publicity: With TikTok, anyone can create short videos doing anything they choose to do that’s appropriate and legal to ensnare the public interest and become viral in society.&lt;br /&gt;
Learning New Things: On top of the funny videos and the dancing videos, there are some people that make videos with great opportunities and life tips that can help many people. Also, there are other people like doctors or teachers on TikTok utilizing the platform to teach new things every day.&lt;br /&gt;
Providing New Opportunities: With the ongoing pandemic, young students such as high schoolers have been finding remote volunteering and internship opportunities directly from TikTok. As an engaging platform, TikTok connects determined youths together to volunteer for nonprofits like Linens N Love or intern for companies.&lt;br /&gt;
Despite the many benefits of TikTok however, there are negative effects to take into consideration as well. Some of the following negative effects of TikTok are:&lt;br /&gt;
Addiction: Most people scroll through the for you page looking at videos perfectly catered to their tastes through the TikTok algorithm. The app is designed to be addictive, with an unlimited stream of videos at around 30 seconds each, making it hard to get bored. It’s incredibly easy to fall down the TikTok hole and suddenly reemerge hours later having lost an entire day.&lt;br /&gt;
Bullying/Mental Health: While the application can be used to spread positivity, it can also be used as a platform for bullying. Some people use the app to criticize other people’s videos, while some users create videos deriding others. This leads to a negative impact on the mental health of everyone involved which can lead to life-threatening situations and decisions.&lt;br /&gt;
Unsafe: On TikTok, there are no restrictions as to who can join the app, so strangers can easily message children and create harmful situations.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tik Tok (Douyin) 抖音&lt;br /&gt;
ByteDance 字节跳动&lt;br /&gt;
short video platforms 短视频平台&lt;br /&gt;
Recommendation algorithm 推荐算法&lt;br /&gt;
Celebrity endorsements 名人代言&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Questions:&lt;br /&gt;
1.	What is Tik Tok&lt;br /&gt;
(TikTok is a short-form, video-sharing app that allows users to create and share 15-second videos on any topic. )&lt;br /&gt;
2.	What is different between douyin to tiktok?&lt;br /&gt;
(They are two different versions which can be downloaded in different regions -- douyin in China, and Tik Tok overseas.) &lt;br /&gt;
3.	Why tik tok is so popular around the world? &lt;br /&gt;
(Celebrity endorsements, Localized content, Easy content creation, sharing, and viewing) &lt;br /&gt;
Summary:&lt;br /&gt;
&lt;br /&gt;
== Douyin (Tik Tok) ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
    Douyin, (抖音, literally “shaking sound” in Chinese) is a short video media app owned by China’s young tech giant Bytedance (字节跳动). It is used for creating and sharing 15-second videos. The contents usually include challenges and funny videos. It is one of the few applications that has enjoyed wild popularity inside and outside China. In the first quarter of 2018, the international version of Douyin, Tik Tok, was the most downloaded iPhone app in the world. Although they were developed by the same parent company, they are actually not one and the same. Depending on which app store you have access to, you will only have access to one version of the app, Douyin (in Chinese app stores) and Tik Tok (in overseas app stores). The two apps host completely different content, and content is not shared between the platforms. But both versions of TikTok offer a wide selection of sounds and song snippets, along with the option to add special effects and filters. &lt;br /&gt;
    The app allows users to create, edit, and share short videos as well as livestreams, often featuring music in the background. The most popular types of content on Douyin are dances, comedies, babies, food, pets, pranks, and stunts. The platform is based around ultra-short, user-posted videos with music that are 15 seconds in duration but can be strung together to make 60-second “stories.” In their videos, users can interact with the camera and sing along to a song of their choice from Douyin’s extensive music library. Showing off dance skills and comedy routines are also popular pastimes on the app. Unlike most video apps, there is no “play” or “pause” button on Douyin. Once you open the app, a video starts immediately. You scroll through a 15-second bottomless stream of videos, as does how you scroll through photos on Instagram. Therefore, many people will spend most of the time on the For You Page. Unlike other popular Chinese apps like Weibo and WeChat, where you have to actively follow specific accounts to be pushed toward their content, Douyin identifies users’ interests through a powerful recommendation algorithm that identifies users’ interests and preferences through their viewing behaviors. This is where the algorithm puts content in front of users, anticipating what they will enjoy based on content they have already engaged with. It's also where it shows content it thinks could go viral. The idea is that if the content is good it will travel, regardless of how many followers the creator has. &lt;br /&gt;
== Comparison Between Tik Tok and Instagram == &lt;br /&gt;
    As we have mentioned before, Tik Tok is somehow similar to Instagram. But while their app fundamentals are alike, they have many features that distinguish them from each other. Time limit: TikTok currently does not have a long-form video feature. Instagram’s long-form video feature, IGTV allows video length of up to one hour. Users: Their users age range differs from each other, most TikTok users are younger than that of Instagram. Most TikTok users belong to generation Z and most Instagram users belong to generation Y. Community: compared to Instagram, the Tik Tok community is distinctly palpable. The app allows users to easily connect, create friendships, and collab with others. Each week something new trends, which enables virality and increases the potential for popularity. Creators have identified this supportive environment to grow followers and have left Instagram for Tik Tok.&lt;br /&gt;
 It’s clear that Tik Tok is making waves in the social app space. With an explosion of growth, Tik Tok is expected to continue a steep upward trend. Whereas this new app is enjoying its hockey stick trajectory, Instagram growth is slowly dropping in 2019. Several reasons why Douyin is so popular include:&lt;br /&gt;
Localized content - the app often runs local contests and challenges and captures local trends using localized hashtags. Douyin also sends personalised recommendations to each of its users. This ensures that Douyin users are always updated on the latest trending videos and are never out of ideas for video creation. &lt;br /&gt;
Easy content creation, sharing, and viewing - due to the short format, neither the video-creation nor the watching process takes much time or effort. Also, the short-form video content plays as soon as a user opens the app. &lt;br /&gt;
Celebrity endorsements - several celebrities, including Jimmy Fallon, have helped drive TikTok's popularity. &lt;br /&gt;
  == Effects == &lt;br /&gt;
    There is no doubt that TikTok has had an impact on today’s world. It has become prevalent in schools, in the workplace, and in many other public venues. It is quite common to find someone either making a TikTok or doing one of the TikTok dances.&lt;br /&gt;
Moral Entertainment: The major advantage of TikTok is that it serves as a great source of entertainment. Overall, TikTok is a great app to help stay entertained, especially during the stress of the pandemic.&lt;br /&gt;
Publicity: With TikTok, anyone can create short videos doing anything they choose to do that’s appropriate and legal to ensnare the public interest and become viral in society.&lt;br /&gt;
    '''Learning New Things''': On top of the funny videos and the dancing videos, there are some people that make videos with great opportunities and life tips that can help many people. Also, there are other people like doctors or teachers on TikTok utilizing the platform to teach new things every day.&lt;br /&gt;
    '''Providing New Opportunities''': With the ongoing pandemic, young students such as high schoolers have been finding remote volunteering and internship opportunities directly from TikTok. As an engaging platform, TikTok connects determined youths together to volunteer for nonprofits like Linens N Love or intern for companies.&lt;br /&gt;
Despite the many benefits of TikTok however, there are negative effects to take into consideration as well. Some of the following negative effects of TikTok are:&lt;br /&gt;
    '''Addiction:''' Most people scroll through the for you page looking at videos perfectly catered to their tastes through the TikTok algorithm. The app is designed to be addictive, with an unlimited stream of videos at around 30 seconds each, making it hard to get bored. It’s incredibly easy to fall down the TikTok hole and suddenly reemerge hours later having lost an entire day.&lt;br /&gt;
    '''Bullying/Mental Health''': While the application can be used to spread positivity, it can also be used as a platform for bullying. Some people use the app to criticize other people’s videos, while some users create videos deriding others. This leads to a negative impact on the mental health of everyone involved which can lead to life-threatening situations and decisions.&lt;br /&gt;
    '''Unsafe''': On TikTok, there are no restrictions as to who can join the app, so strangers can easily message children and create harmful situations.&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
Tik Tok (Douyin) 抖音&lt;br /&gt;
ByteDance 字节跳动&lt;br /&gt;
short video platforms 短视频平台&lt;br /&gt;
Recommendation algorithm 推荐算法&lt;br /&gt;
Celebrity endorsements 名人代言&lt;br /&gt;
&lt;br /&gt;
== Questions == &lt;br /&gt;
&lt;br /&gt;
1.	What is Tik Tok&lt;br /&gt;
(TikTok is a short-form, video-sharing app that allows users to create and share 15-second videos on any topic. )&lt;br /&gt;
2.	What is different between douyin to tiktok?&lt;br /&gt;
(They are two different versions which can be downloaded in different regions -- douyin in China, and Tik Tok overseas.) &lt;br /&gt;
3.	Why tik tok is so popular around the world? &lt;br /&gt;
(Celebrity endorsements, Localized content, Easy content creation, sharing, and viewing)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==   &lt;br /&gt;
Four Buddhist Shrines - 佛教四大名山&lt;br /&gt;
&lt;br /&gt;
A:  Buddism is one of the most important religions in China. As the introduction of Buddhism from India in Han Dynasty, China initiated temple construction and sites of enlightenment and continues today. The Buddhist culture in China went through long history of growth and prosperity, and ultimately turns into historical appeal and cultural charm together with the attractive natural scenery where they pullulated, achieved fame throughout the world. Among the numerous famous Buddha Mountains in China, the most sacred four called Four Buddhist Shrines, are known as Gold Wutai, Silver Putuo, Copper Emei and Iron Jiuhua respectively for they believed to be the holy seats Manjusri Bodhisattva, Avalokitesvara, Samantabhadra Bodhisattva and Ksitigahba Buddhisattva reincarnated to tame certain beings.&lt;br /&gt;
&lt;br /&gt;
Gold Wutai, also called Wutaishan, Mount Wutai, or Mount Qingliang in Chinese, is a National Natural and Cultural Heritage, National Geopark, as well as the only Buddhist sanctuary Chinese Buddhism and Tibetan Buddhism coexist in perfect harmony. Mount Wutai is located in Wutai County, Xinzhou City, Northeast of Shanxi province in China and is called the top buddhist holy land. Mount Wutai tops the four great mountains of Buddhism for its long history and grandness of temples. It also known as one of the Top 5 Buddhism shrines in the world with Lumpini in Nepal and Sarnath, Buddha-gaya and Kushinagar in India. Buddhism propagated into Mount Wutai from the Eastern Han Dynasty and culminated in Southern and Northern Dynasty when emperors extended temples on a large scale to over 200. The second blossom of Buddhism came during the flourishing Tang Dynasty during which there were more than 30,000 Buddha statues made. There are five main peaks of Wutai Mountain, including Wanghai Peak, Yedou Peak, Guayue Peak, Splendid Peak and Cuiyan Peak. A large number of temples which are the treasury of precious cultural heritage attract thousands of tourists every year,including Xiantong Temple, Nanchan Temple, Foguang Temple and etc. The Great White Tower is the most famous symbol of Mount Wutai lying in Tayuan Temple. &lt;br /&gt;
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Silver Putuo, ashram of Avalokiteśvara ( Goddess of Mercy), lies in a 13 square kilometers small island of Zhejiang Province in southeast China. Silver Putuo,also named Mount Putuo, owns the honor of Buddhist Kingdom on the Sea. It is a National 5A Tourist Resort and a world excellent ecological scenic spot with charming island scenery and unique Buddhist charisma of temples, sculptures and etc. Taoism is the earliest religion cultivated on Mount Putuo 2,000 years ago from Qin Dynasty. And Buddhism only get spread on Mount Putuo in Tang Dynasty and later rose to the peak during later Qing Dynasty and the Republic of China, the largest Buddhist Kingdom of ancient China with over 4,000 monks. The three main sacred Buddhist temples are Puji Temple which is the Buddhism center of important Buddhist fairs on Mount Putuo and the biggest temple worshipping Goddess of Mercy on foothill, Fayu Temple which is the second largest temple in most noble and delicate decoration on hillside, and Huiji Temple which is a beautiful garden style temple located the highest on hilltop. The Purple Bamboo Woods is an tourist-attractive scenery point where popele can enjoy the picturesque landsacape around and experience the Buddhist culture. &lt;br /&gt;
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Copper Emei refers to Mount Emei in Sichuan province. It is the ashram of Samantabhadra Bodhisattva. Mount Emei usually refers to the Da’e Peak of Mount Emei Scenic Area, the highest peak among the four most sacred Buddhist mountains. It is Listed both as the World Cultural and Natural Heritage among the four Buddhist mountains. By the middle of 1st century, Buddhism spread into Mount Emei from India though Silk Road. Then Wannian Temple (previously known as Puxian Temple) was constructed in the 3rd century, and more than 100 Buddhist temples were built afterwards, making Sichuan a Buddha center for a time. The giant bronze statue of Samantabhadra Bodhisattva in Wannian Temple was casted after a Buddhists group learnt Buddhism from India in Song Dynasty. Mount Emei is not only famous for its Buddhist treasures and precious cultural relics, but also for its four great natural spectacles of sunrise, clouds sea, golden summit and light of Buddha from the mountaintops at Golden Summit. Jast the same as other Buddhist shrines, there are many temples such as Baoguo Temple, Wannian Temple, Fuhu Temple...&lt;br /&gt;
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Iron Jiuhua refers to Mount Jiuhua in Southern Anhui province. It is known as the shrine Ksitigarbha Buddha and one of the four most sacred Buddhist mountains in China. Initially named Mount Jiuzi, later it was renamed into Mount Jiuhua according to a poem by great poet Libai during Tang Dynasty - nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. The first religion developed in Mount Jiuhua was Chinese Taoism. Until the middle and  late of  Tang Dynasty, Buddhism was gradually accepted and spread in Mount Jiuhua along with construction of more Buddhist temples. There are 78 sites which contains precious Buddhist statues, scriptures and antiques, including Huacheng Temple which is the ashram of Ksitigarbha Bodhisattva as well as the ancestral temple of longest history, Tiantai Temple, Longevity Palace, Zhiyuan Temple and etc.&lt;br /&gt;
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B. Vocabulary  &lt;br /&gt;
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Buddhist adj.佛教的&lt;br /&gt;
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Buddhism n.佛教&lt;br /&gt;
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shrine n.圣地&lt;br /&gt;
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pullulate v.大量产生&lt;br /&gt;
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Gold Wutai 金五台&lt;br /&gt;
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Silver Putuo 银普陀&lt;br /&gt;
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Copper Emei 铜峨眉&lt;br /&gt;
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Iron Jiuhua 铁九华&lt;br /&gt;
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Manjusri Bodhisattva 文殊菩萨&lt;br /&gt;
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Avalokitesvara 观音菩萨&lt;br /&gt;
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Samantabhadra Bodhisattva 普贤菩萨&lt;br /&gt;
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Ksitigahba Buddhisattva 地藏菩萨&lt;br /&gt;
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reincarnate v. 使转世，使化身&lt;br /&gt;
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ashram n. 修行的住所&lt;br /&gt;
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Lumpini n. 蓝毗尼&lt;br /&gt;
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Sarnath  n. 鹿野苑&lt;br /&gt;
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Buddha-gaya  n. 菩提伽耶&lt;br /&gt;
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Kushinagar  n. 拘尸那罗&lt;br /&gt;
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Wanghai Peak 望海峰 &lt;br /&gt;
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Yedou Peak  叶斗峰&lt;br /&gt;
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Guayue Peak 挂月峰&lt;br /&gt;
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Splendid Peak 锦绣峰&lt;br /&gt;
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Cuiyan Peak 翠岩峰&lt;br /&gt;
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Xiantong Temple 显通寺&lt;br /&gt;
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Nanchan Temple 南禅寺&lt;br /&gt;
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Foguang Temple 佛光寺&lt;br /&gt;
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The Great White Tower 大白塔&lt;br /&gt;
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Puji Temple 普济寺&lt;br /&gt;
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Fayu Temple  法雨寺&lt;br /&gt;
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Huiji Temple 惠济寺&lt;br /&gt;
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The Purple Bamboo Woods 紫竹林&lt;br /&gt;
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Wannian Temple 万年寺&lt;br /&gt;
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Baoguo Temple 报国寺 &lt;br /&gt;
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Fuhu Temple 伏虎寺&lt;br /&gt;
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Golden Summit  金顶&lt;br /&gt;
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Huacheng Temple 化城寺&lt;br /&gt;
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Tiantai Temple 天台寺&lt;br /&gt;
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Longevity Palace 百岁宫&lt;br /&gt;
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Zhiyuan Temple 祗园寺&lt;br /&gt;
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nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. -By Libai&lt;br /&gt;
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妙有分二气，灵山开九华。—李白&lt;br /&gt;
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C. Questions&lt;br /&gt;
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1.What are the Four Buddhist Shrines or the Four Sacred Buddhist Mountains ?&lt;br /&gt;
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2.Which bodhissattvas' holy seats are the four mountains belong to respectively?&lt;br /&gt;
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3.Where are the Four Buddhist Shrines respectivly?&lt;br /&gt;
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4.What are the top five Buddhist shrines in the world?&lt;br /&gt;
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5.Among the Four Buddhist Shrines, which one has the honor of &amp;quot;The Buddhist Kingdom on the Sea&amp;quot;?&lt;br /&gt;
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6.Among the Four Buddhidt Shrines, Whose name is related with the Poet Libai?&lt;br /&gt;
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--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:03, 4 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
===Compass===&lt;br /&gt;
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Compass, together with papermaking, gunpowder and printing was referred to the Four Great Inventions, celebrated in Chinese culture for their historical significance. Compass, as the ancient China’s advanced science and technology, has made great contribution to the navigation undertaking both in China and the rest of the world. China was the first one to find the magnetism that could guide the polarity and use the polarity in the earth’s magnetic field and invent the instrument that could guide the directions. The earliest reference to magnetism in Chinese literature, ''Devil Valley Master'', was found in the 4th century BC. It recorded that &amp;quot;The lodestone makes iron come, or it attracts it&amp;quot;. The earliest south-pointing device probably appeared in the Warring States Period. It seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth plate. When it stopped, the handle of the spoon would guide the South. Therefore, people all called it &amp;quot;south-governor&amp;quot; or Si Nan. However, in the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects. Therefore, the south-governor has not been applied in a wide range. In the Song Dynasty, the book ''Wu Jing Zong Yao''(''General Military Principles''), written by Zeng Gongliang and Ding Du in 1044, recorded a magnetic device used as a &amp;quot;direction finder&amp;quot;, called &amp;quot;south-pointing fish&amp;quot;. It made by thin iron slice and was magnetized by the earth's magnetic field. When people made use of it, they could float it in a bowl of water to guide the south. The device was recommended as a means of orientation &amp;quot;in the obscurity of the night&amp;quot;. Although it effectively avoided the shortcomings of the south-governor, the magnetism was weak acquired from the magnetic field, resulting in the decreased in practical values. In the South Song Dynasty, the book ''Dream Pool Essays'' written by Shen Kuo recorded the first magnetic needle compass, which was the combination of the magnetic needle and plate. This kind of compass had meridian indicator needle, which directed the south and the north. There are two types of magnetic needle compass, that is wet suspension compass and dry suspension compass. The wet suspension compass was used with its needle floating on the water. And the dry suspension compass was a wooden frame crafted in the shape of a turtle hung upside down by a board, with the lodestone sealed in by wax. When floating, the needle at the tail would always point at the northern cardinal direction.&lt;br /&gt;
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Compass, as an instrument to guide the direction, had played an important role in people’s daily life and navigation undertaking. At the beginning, the compass was used for geomancy (prognostication) to determine the best location and time for things such as burials and weddings. It was recorded that Qin emperor used the diving board and compass in royal court to affirm his right to the throne. The original shape of the compass made people believe that the square plate symbolized earth and the circular disc symbolized heaven. And around the circular disc, there inscribed the Eight Trigrams, the 24 directions (based on the constellations) and the 28 lunar mansions (based on the constellations dividing the Equator). Although the geomancy was a kind of superstition, the compass was endowed with people’s wishful thinking. Nowadays many people still use the concepts of Feng Shui to decide the location of buildings and enterprises as well as the auspicious time for open ceremony. &lt;br /&gt;
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Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings. However, relying on the celestial phenomena posed another problem. When the navigators met the rainy days, they were unable to distinguish the directions according to the celestial phenomena. The appearance of compass made up for the defect. The compass used for navigation started from the end of Northern Song Dynasty. In the Ming Dynasty, it was with the compass that the navigator, Zheng He, could made seven voyages to the western countries. The voyages expanded the foreign trade and promoted the exchanges of economy and cultures between China and western countries. The compass had played an important role in providing guidance.&lt;br /&gt;
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The compass was introduced to the Arab world and Europe during the Northern Song Dynasty. After the compass entered into the Europe, the Europeans further improved the compass and invented the dry compass with fixed support. Until 15th century, they invented the gimbal to keep the dry compass in a horizontal level. The application of compass in Europe promoted the coming of the age of sail. The great philosopher Marx pointed that Europe opened the global market and established the colony via the compass.&lt;br /&gt;
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[[File:Ming_Compass.jpg|250px|thumb|left|Diagram of a Ming dynasty mariner's compass, Public Domain license by Wikimedia. Click [https://en.wikipedia.org/wiki/Four_Great_Inventions#/media/File:Ming-marine-compass.jpg] for original source.]]&lt;br /&gt;
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===References===&lt;br /&gt;
*&amp;quot;FOUR Great Inventions&amp;quot;. China's Foreign Trade.05(2012):94.&lt;br /&gt;
*&amp;quot;Compass, One of the Four Great Inventions of Ancient China&amp;quot;. China Week.04(2003):35.&lt;br /&gt;
*鲁才全，黄惠贤. 《中华文明光耀寰宇 中国古代的“四大发明”及中华医药学》. 1995:1-11.&lt;br /&gt;
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===Terms and Expressions===&lt;br /&gt;
*Four Great Inventions四大发明&lt;br /&gt;
*Devil Valley Master 鬼谷子&lt;br /&gt;
*lodestone 天然磁石&lt;br /&gt;
*south-governor司南&lt;br /&gt;
*Wu Jing Zong Yao (General Military Principles) 《武经总要》&lt;br /&gt;
*Zeng Gongliang曾公亮 &lt;br /&gt;
*Ding Du丁度&lt;br /&gt;
*south-pointing fish指南鱼&lt;br /&gt;
*Dream Pool Essays 《梦溪笔谈》&lt;br /&gt;
*wet suspension compass 水罗盘&lt;br /&gt;
*dry compass旱罗盘&lt;br /&gt;
*Eight Trigrams八卦&lt;br /&gt;
*gimbal常平架&lt;br /&gt;
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===Questions===&lt;br /&gt;
*What’s the earliest reference to magnetism in Chinese literature? (Devil Valley Master, found in the 4th century BC)&lt;br /&gt;
*When did the earliest south-pointing device appear? (In the Warring States Period)&lt;br /&gt;
*Why had the south-governor not been applied in a wide range? (In the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects.)&lt;br /&gt;
*What are the differences between the south-governor and the south-pointing fish? (The south-governor seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth plate. When it stopped, the handle of the spoon would guide the South. While the south-pointing fish was made by thin iron slice and was magnetized by the earth’s magnetic field. When people made use of it, they could float it in a bowl of water to guide the south.)&lt;br /&gt;
*What are the two types of magnetic needle compass? (wet suspension compass and dry suspension compass)&lt;br /&gt;
*What’s the symbol of the original shape of the compass? (the square plate symbolized earth and the circular disc symbolized heaven)&lt;br /&gt;
*What did the navigator depend on before the invention of the compass? (Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings.)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
Strange Stories from a Chinese Studio&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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'''A. Confucianism'''&lt;br /&gt;
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In the Pre-Qin period, scholars from different schools were gathering together to share their opinions toward the same issues and try to figure out the best way to solve problems at that time, forming a famous situation of “One-hundred schools of thought”. Among them, Confucianism, with representative figure of Confucius, Mencius and Xunzi, was prominent and has caught many attentions. Even at present, it is also one of the most important schools with far-reaching influence in Chinese history of thought.&lt;br /&gt;
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Confucius is the founder of Confucianism. Living in the Spring and Autumn Period with many contradictions in the society, Confucius acknowledged those turbulences and wars threatened the traditional culture as more and more common people suspected, even criticized, the traditional culture, therefore, Confucius aimed to rebuild the balance in mind and seek for the new harmony in the society by reshaping people’s mind, which was the general background of the emergency of Confucianism. However, to establish a school and cure people’s mind is a tough work, especially at that time, as Emperor Shi Huangdi promoted legalism and prohibited Confucianism. In order to govern the whole nation, unified mind was essential, so the emperor even buried many disciples committed to Confucianism and incinerated many masterpiece, causing profoundly negative effect, which was famous as “Burning of Books and Burying of Scholars” (“焚书坑儒”). However, as Confucianism was the treasure of traditional Chinese culture consisting quite a few thoughts with far-reaching meaning in our life, it was boasted by Dong Zhongshu in Han Dynasty. As Confucianism had some flaw in Pre-Qin Dynasty, Dong Zhongshu integrated part of thought from Legalism and Daoism to further its development, and applied it in the governance. Since then, the model of governing the country with Confucian ethics and morality as the center, with the strict punishment of the jurist as the auxiliary with Taoist power politics as the means, basically conformed to the national conditions of ancient China, and became the ruling class of all dynasties to pursue the unchanged rule of the country.&lt;br /&gt;
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In Confucianism, benevolence stands in the center. It proposes that the governor should love and be kind to his people. Only in that way, he could govern the whole nation as long as possible and the nation can survive whatever disaster it encountered. In our daily life, Confucianism has its cues in every part of life, and we also advocate Confucianism and regulate our behaviors according to it.&lt;br /&gt;
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'''B. Taoism or Daoism'''&lt;br /&gt;
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Taoism also named for Daoism. Its representative figures are world-renowned Chinese thinkers: Lao-Tzu and Zhuang Zhou. There are quite a few famous masterworks of Taoism, among which the most famous is Tao Te Ching (《道德经》). Although Confucianism has far-reaching influence on Chinese society, Daoism also stands prominently in the history of Chinese thought as it has the deepest influence on Chinese philosophy, literature, science and technology, art, music, health, religion and so on, so we need to know it comprehensively. &lt;br /&gt;
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First, the same with Confucianism, Taoism also emerged in the Pre-Qin Dynasty and was part of “One-Hundred School of Thoughts”. And in the Spring and Autumn Period, Lao-Tzu concluded the quintessence of scattered thoughts about Daoism into a systematic thought, which symbolizes the form of Daoism. After Lao-Tzu, the school of Daoism was divided into different part, with Huang-Lao Thought being the most famous among others. Then, Lu Buwei compiled “Lü shih ch'un ch'iu” (《吕氏春秋》), also referred to The Annuals of Lu Buwei, which set Daoism as its main thought and integrated other schools, landing the preparation for the great unity then. &lt;br /&gt;
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However, after the foundation of Qin-Dynasty, Emperor Shi Huangdi turned to Legalism. In the Han Dynasty, the governor chose Daoism as the official thought to unify the whole nation, which symbolized the its resurgence, and even Dong Zhongshu absorbed the positive points of Daoism and integrated them into Confucianism in his governance. When it came to Sui and Tang Dynasty, Daoism became prominent once again as Wang Yangming and other important figures combined its thought with Buddhism. At present, the thought of Daoism also present in our life, especially in management and business.&lt;br /&gt;
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'''C. Legalism'''&lt;br /&gt;
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Legalism is a famous school of thought in Chinese history with the rule of law as its core. Unlike Confucianism and Daoism, people promoting Legalism are not only ideologists, but also activists focusing on the practical use of laws or regulations.&lt;br /&gt;
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Legalism was born quite late, but it came to take its form very quickly as Emperor Shi Huangdi initiated the period of governing the country according to the rule of law, falling into the category of Legalism. Since then, each monarch, to some extent, follows this principle. In this way, Legalism keeps its status and influences Chinese governance greatly. Even at present, we still promote the rule of law as it can ensure the fairness and justice of the judgment and safeguard the common people at large. &lt;br /&gt;
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Legalism advocates clear rewards and punishment according to laws and regulations. To that end, Provisions should not be set arbitrary, rather, it should be clear and explicit with official formulation, and governments are responsible for informing common people so as to ensure that everyone has known that and would follow regulations.&lt;br /&gt;
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'''D. Mohism'''&lt;br /&gt;
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Mohism, also referred to Moism and developed by academic scholars studying under the leadership of ancient Chinese philosopher Mozi, was one of the four main philosophic schools from around 770–221 BC (during the Spring and Autumn and Warring States periods), about the same time as Confucianism, Taoism and Legalism. Different from three schools listed above, Mohism focuses on natural science and logic, rational thought. A tradition of Mohism, a disciplined group, goes that disciples in official states, wherever he is, should promote the school’s proposition in his or her official states, and their salary must also be dedicated to the group. The development of Mohism has former and later period with different focus. The early thought mainly involves the social politics, ethics and the ideology, paying attention to the present world war, and the later contributed greatly in logic, closer to the field of scientific research. The main ideas of Mohism are equal love between people (Jian Ai) and against the war of aggression (Fei Gong). They also advocate economy, oppose waste (Jie Yong), attach importance to inheriting the cultural wealth of their fore-owners (Ming Gui), master the laws of nature (Tian zhi) and so on.&lt;br /&gt;
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During the Warring States Period, Mohism mastered many practical techniques which were useful for the development of society, so it has attracted quite a few people to follow him. Even at present, it is widely accepted that top two influential schools of thought fall in Confucianism and Mohism. However, as Mohism promoted itself political status, many monarchs oppressed its development. Gradually, it lost the foundation of survive and came to extinct. Scholars failed to re-dig out the its precious thoughts from historical records until the end of the Qing Dynasty, After the arduous efforts of its disciples in recent years, the basic growing course has been found out, and the theories and thought appeared to recover and catch many scholars’ attention with self-advancement.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 08:44, 5 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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'''A. Writing Brush'''&lt;br /&gt;
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Writing brush is a writing and painting tool originated from China and is one of the four treasures of the study, writing brushes, ink sticks, paper and inkstones. Its history dates back to the Neolithic Age, which has been 5000 or 6000 years up to now. However, the physical object of writing brush was found in a Chu tomb in the Warring States periods. &lt;br /&gt;
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In the Qin dynasty, writing brush had its own basic model. It is said that the General Meng Tian in the Qin dynasty who was a supervisor of the construction of the Great Wall invented the writing brush. Therefore, in the hometown of writing brush --- Hengshui, Hubei province and Huzhou, Zhejiang province, people commemorate and celebrate the invention of writing brush by making dumplings and drinking on the 3rd of the 3rd lunar month.&lt;br /&gt;
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In the Han dynasty, as the calligraphy grew vigorously, the making technique of writing brush has become more mature. The development of calligraphy promoted the shape of writing brush with excellent workmanship and started to pursue the decoration except for its function.  The diameter of the pen-holder was from thick above to thinner below.It was no longer just a writing and painting tool, but an object worthy of appreciating and collecting. What’s more, writing brush-making industry came into being and grew gradually which made writing brush-making as a professional technology. Compared with the Qin dynasty, the writing brush in the Han dynasty was made more exquisite as people paid more attention to the comfort and feeling when they used it to write or paint.&lt;br /&gt;
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In the Wei and Jin dynasties, the process of making writing brush was fundamentally similar to that in the previous dynasties. It only had little difference in the length and diameter of pen-holder for the user’s convenience.&lt;br /&gt;
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The Sui and Tang dynasties were the flourishing period when the writing brush-making industry developed rapidly in Xuanzhou. In the Tang dynasty, the first professional producing place of writing brush came into being in the history, which made Xuanzhou of Anhui province play a role as the center of writing brush manufacturing all over the country. There were two masters of making writing brush. One was Mr.Chen and the other was Mr.Zhuge. The brushes produced in this place were called Xuan Chinese writing brushes and were much loved by writers, calligraphers, emperors and ministers. Materials for their head mainly was rabbit hair. For the selected superior material and exquisite workmanship, the writing brushes became tributes to the imperial household.  &lt;br /&gt;
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By the Song dynasty, writing brush manufacturing technology reached its peak. Xuanzhou was still the center of manufacturing and many new types of brushes were produced and the classification of brushes was more specialized. However, Xuan writing brush gradually lost its former level in workmanship because every place across the country had its own way to make writing brushes. The best choice of materials for the pen heads was not only the rabbit hair any more. &lt;br /&gt;
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A batch of masters of making brushes appeared in the Huzhou of Zhejiang province in the Yuan and Ming dynasties, such as Wu Yunhui, Feng Yingke and Lu Wenbao. Writing brush made in this place, known as Hu writing brush, was characterized by pointed tip, even brush hair, round brush belly and flexible hair. Since the Qing dynasty, Huzhou has been the center of writing brush manufacturing. At the same time, several well-known writing brushes emerged in succession, among which writing brushes respectively made by Li Dinghe in Shanghai and made by Wu Yunhui in Jiangxi have won prizes in the international fairs.&lt;br /&gt;
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In the late Qing dynasty, with the incoming of western paintings, traditional Chinese realistic paintings began to fail and the writing brush was renovated. There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou. At present, painting brushes produced in Shanghai, Suzhou and Beijing also enjoy high reputation.&lt;br /&gt;
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Writing brush can be classified according to the usage, shape, material of its head and so on. Brushes can be used to write or paint. Based on its shape, there are brushes with round hair and brushes with pointed hair. What’s more, materials for the head part of writing brushes includes goat hair, yellow weasel hair, black rabbit hair, pig hair, mouse mustache, and hair of buffalo’s tail. According to the hairs texture, Chinese brushes can be divided into the one with soft hair, mixed hair and hard hair. Considering the length of the tip, writing brush can be categorized as three types: small one, middle one and large one.&lt;br /&gt;
&lt;br /&gt;
Different types of brushes may possess different functions and usages. Writers prior to the Song dynasty used brushes with hard hair to write. By the Ming and Qing dynasties, as writers wrote larger Chinese characters, brushes used by them were changed from brushes with hard hair to brushes made of goat hair, namely goat-hair brushes, because the length of goat hair was apt to write big characters. Generally, people often use brushes with hard hair to write cursive script and semi-cursive script and always use hard-hair brushes to write regular script, official script and seal script. As for choosing the tip of a writing brush, we should choose appropriate length. If the tip of a brush is long, the tip will not be easy to master, but the brush can contain a lot of ink, suitable for writing cursive script.&lt;br /&gt;
&lt;br /&gt;
As a tool and carrier for inheriting and promoting Chinese culture and art, writing brush has forged a unique art of Chinese calligraphy and the distinctive artistic style of Chinese painting. Each dynasty in Chinese history has witnessed famous craftsmen appearing and fine works produced, which helped form a profound cultural accumulation.&lt;br /&gt;
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'''B. Terms and Expressions'''&lt;br /&gt;
&lt;br /&gt;
笔锋 the tip of a wring brush&lt;br /&gt;
&lt;br /&gt;
笔杆 pen-holder&lt;br /&gt;
&lt;br /&gt;
宣笔 Xuan Chinese writing brush&lt;br /&gt;
&lt;br /&gt;
羊毫笔 goat-hair brush&lt;br /&gt;
&lt;br /&gt;
鼠须笔 mouse-mustache brush&lt;br /&gt;
&lt;br /&gt;
'''C. Questions'''&lt;br /&gt;
&lt;br /&gt;
1. What are the four treasures of the study?&lt;br /&gt;
   Writing brushes, ink sticks, paper and inkstones&lt;br /&gt;
&lt;br /&gt;
2. How long is the history of writing brush?&lt;br /&gt;
   5000 or 6000 years up to now.&lt;br /&gt;
&lt;br /&gt;
3. When was the physical object of writing brush found?&lt;br /&gt;
   In the Warring States periods.&lt;br /&gt;
&lt;br /&gt;
4. How many centers of writing brush manufacturing in the history? What are they?&lt;br /&gt;
   There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou.&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
&lt;br /&gt;
===Chinese Classical Fairy Tales===&lt;br /&gt;
===Jingwei Tries to Fill the Sea===&lt;br /&gt;
Jingwei is a bird in Chinese mythology, who was transformed from Yandi's daughter Nüwa. She is also a goddess in Chinese mythology.&lt;br /&gt;
The story is recorded in the Shanhaijing:Three thousand ninety li farther southeast, then northeast, stands Departing-Doves Mountain. On its heights are many mulberry trees. There is a bird dwelling here whose form resembles a crow with a patterned head, white beak, and red feet. It is called Jingwei and makes a sound like its name. She is the younger daughter of Yandi named Nüwa. Nüwa was swimming in the Eastern Sea when she was unable to return to shore and drowned. She then transformed into the bird Spirit-Guardian and regularly carries twigs and stones from the Western Mountains to fill up the Eastern Sea. The Zhang River emanates from here and flows eastward into the Yellow River.&lt;br /&gt;
The story means dogged determination and perseverance in the face of seemingly impossible odds.Based on different research perspectives, people classify the myth into different types of myths. Obviously, the myth is a typical metamorphosis myth, and belongs to the myth of &amp;quot;life after death&amp;quot;, that is, the soul is entrusted to a real substance. The woman drowned in the sea and became a bird to carry out the revenge business of reclamation.&lt;br /&gt;
The myth of “Jingwei Tries to Fill the Sea” expresses the most essential and eternal thing about human beings: the fear of survival, and above all, the eternal and unique spirituality of human beings. These archetypal themes express the cultural consciousness of the ancestors arising from their most basic survival. Survival here is simply a cherishing of life. As a result of this initial instinct to preserve life, the sense of crisis gradually spread to a deeper and broader level in later generations.&lt;br /&gt;
&lt;br /&gt;
===The Great Flood of Gun-Yu===&lt;br /&gt;
The Great Flood of Gun-Yu, also known as the Gun-Yu myth, was a major flood event in ancient China that allegedly continued for at least two generations, which resulted in great population displacements among other disasters, such as storms and famine. People left their homes to live on the high hills and mounts, or nest on the trees. According to mythological and historical sources, it is traditionally dated to the third millennium BCE, or about 2300-2200 BC, during the reign of Emperor Yao.&lt;br /&gt;
Yu tried a different approach to the project of flood control; which in the end having achieved success, earned Yu renown throughout Chinese history, in which the Gun-Yu Great Flood is commonly referred to as &amp;quot;Great Yu Controls the Waters&amp;quot;. Yu's approach seems to have involved an approach more oriented toward drainage and less towards containment with dams and dikes. According to the more fancily embellished versions of the story it was also necessary for him to subdue various supernatural beings as well as recruit the assistance of others, for instance a channel-digging dragon and a giant mud-hauling tortoise (or turtle).&lt;br /&gt;
In the history of Chinese civilization, the story &amp;quot;the Great Flood of Gun-Yu&amp;quot; played an important role in healing water. In the process of curing water, Yu relied on the concepts of hard work, making the best use of the situation, scientific treatment of water and putting people first, and overcame many difficulties to achieve success. This led to the formation of the spirit of Da Yu's water management, which is based on the concepts of selflessness, national supremacy, people as the foundation of the nation, and scientific innovation. The spirit of the Great Yu is the source and symbol of the Chinese national spirit.&lt;br /&gt;
&lt;br /&gt;
===The Legendary of Nian===&lt;br /&gt;
   &lt;br /&gt;
According to Chinese mythology, a Nian is a beast that lives under the sea or in the mountains. The character nian more usually means &amp;quot;year&amp;quot; or &amp;quot;new year&amp;quot;. The earliest written sources that refer to the nian as a creature date to early 20th century. As a result, it is unclear whether the Nian creature is an authentic part of traditional folk mythology or a part of a local oral tradition which was recorded in the early 20th century. Nian is one of the key characters in the Chinese New Year with scholars citing it as the reason behind several practices during the celebration such as wearing red clothing and creating noise from drums and fireworks. Various aspects of cultural practices relating to Chinese New Year are now included as part of the nian legend. Once every year at the beginning of Chinese New Year, the nian comes out of its hiding place to feed, mostly on men and animals. During winter, since food is sparse, he would go to the village. He would eat the crops and sometimes the villagers, mostly children. There are several accounts as to how it looked, such as the way some sources cited that it resembles a flat-face lion with a dog's body and prominent incisor. Other authors described it as larger than an elephant with two long horns and many sharp teeth. The weaknesses of the nian are purported to be a sensitivity to loud noises, fire, and a fear of the color red.&lt;br /&gt;
The reason why people consider the year as a monster is because the earth and sky bring food and clothing, as well as disasters. Therefore, it is important to start the year with a respect for nature and to pray for blessings through rituals.&lt;br /&gt;
&lt;br /&gt;
===Terms and Expressions===&lt;br /&gt;
&lt;br /&gt;
Jingwei Tries to Fill the Sea 精卫填海&lt;br /&gt;
&lt;br /&gt;
Yandi 炎帝&lt;br /&gt;
&lt;br /&gt;
Shanhaijing 山海经&lt;br /&gt;
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Departing-Doves Mountain 发鸠山&lt;br /&gt;
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Nüwa 女娃&lt;br /&gt;
&lt;br /&gt;
Eastern Sea 东海&lt;br /&gt;
&lt;br /&gt;
the bird Spirit-Guardian 精卫鸟&lt;br /&gt;
&lt;br /&gt;
Zhang River 漳水&lt;br /&gt;
&lt;br /&gt;
The Great Flood of Gun-Yu 鲧禹治水&lt;br /&gt;
&lt;br /&gt;
Emperor Yao 尧帝&lt;br /&gt;
&lt;br /&gt;
Nian 年&lt;br /&gt;
&lt;br /&gt;
new year 新年&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
1.Who is Nüwa? &lt;br /&gt;
&lt;br /&gt;
She is the younger daughter of Yandi,then transformed into a bird called Jingwei.&lt;br /&gt;
&lt;br /&gt;
2.What can we learn from the Great Flood of Gun-Yu?&lt;br /&gt;
&lt;br /&gt;
The spirit of Da Yu's water management, which is based on the concepts of selflessness, national supremacy, people as the foundation of the nation, and scientific innovation.&lt;br /&gt;
&lt;br /&gt;
3.What are the customs of Chinese New Year?&lt;br /&gt;
&lt;br /&gt;
Wearing red clothing and creating noise from drums and fireworks.&lt;br /&gt;
--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:04, 3 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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===Face Changing in Sichuan Opera===&lt;br /&gt;
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===Vovabulary list===&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:42, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
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中国古代选官制度--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 12:55, 27 November 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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&lt;br /&gt;
[[File:yueliang.jpg]]&lt;br /&gt;
&lt;br /&gt;
Ancient Chinese Doors and Windows&lt;br /&gt;
&lt;br /&gt;
In the early age of human existence, the purpose for the construction of buildings was quite clear: to ensure security and ward off the cold. When doors and windows first came into existence, they only had the primary function of ventilation and lighting. Nowadays, the Chinese character for “window” is 窗（chuang），but in ancient times, its was written as 囱（cong），which, both in meaning and pronunciation is the same as the character for “chimney”. This clearly shows that, in ancient times, windows were used for ventilation, at least they were used more for ventilation than for lighting. The traditional Chinese character for “door” is 門（men），composed of two door leaves (hu, 户), originally meaning a door with two leaves. Thus, a door with two door leaves was called a men, and door with one leaf was known as a hu, 牖（you），which is seldom used now, meant a window in the wall, whereas cong was a window in the roof. It is important to acquire this basic knowledge for our understanding of the evolution of doors and windows. &lt;br /&gt;
&lt;br /&gt;
Although no buildings prior to the Qin dynasty have survived, we can imagine how simple they were. Huainanzi. On Mountains contains an illuminative depiction: “When light comes from a crack, a corner is illuminated; when light comes from a window in the wall, the north wall is illuminated; when light comes from the door, all the room is illuminated.” It further comments: “With ten windows fully open, the room is not as bright as when a door is open.” These remarks provide us with plenty of useful information. &lt;br /&gt;
&lt;br /&gt;
First, we know that at that time houses were constructed to face the south, and the direction of doors and windows were consistent with the architectural tradition which lasted thousands of years. Secondly, windows were quite small, to the extent that the area of ten windows was not as big as that of a door. &lt;br /&gt;
Doors and windows at this time only had basic functions. We can assume that no decoration was applied, and that there were even no window rods. Windows with vertical rods appeared in the Han dynasty, which can only be seen in excavated funeral objects. As elaborate funerals were in fashion in the Han dynasty, construction models as funeral objects have occasionally been unearthed from Han tombs. On these objects ancient doors and windows can be identified. During Han times, paper was not used to cover windows. Although papermaking was invented in the Western Han (206BC-25AD), it was not until hundreds of years later that paper was installed in windows. Historic Records of Later Han (Houhanshu), Biography of Liang Ji describes: “All the windows are covered qi and green suo.” Qi is a kind of fabric that can ward off wind and allow light to enter.  &lt;br /&gt;
Great progress was made in architecture when windows with vertical rods came into existence. First of all, it made it possible to enlarge a window. If windows were not covered, the function of a house to ward off wind and cold would be diminished; if windows were too big, it would be difficult to close and block them up. Windows with vertical rods solved these problems perfectly. In addition, as fabric manufacturing in the Han dynasty was quite developed, windows covered with fabrics were both practical and good-looking. &lt;br /&gt;
&lt;br /&gt;
Windows with vertical rods began to be commonly adopted in Wei adn Jin times. During this period there was a row of windows with vertical rods installed in the enclosed walls of many private residences. In the competition among literati in garden building, the function of doors and windows became sophisticated. Installed between natural scenes and houses, they acted as partitions. Xie Lingyun (385-433), a famous poet and follower of Buddhism, wrote a beautiful couplet in his On the Mountain Cottage, “Ranges of mountains are invited into the door, and mirror-like quiescent water is displayed in front of the window.” To exhibit natural scenes through doors and windows added to the aesthetic function of doors and windows. &lt;br /&gt;
During the period from the Sui and Tang dynasties to the Song dynasty, doors and windows in constructions gradually matured. From the drawings in the Building Standards, we can see diversified lattice patterns and elaborate carvings in waist panels, showing that a variety of decorative means for doors and windows were in place at that time. However, the style of lattice doors was comparatively simple, with only two types: single-waist-bar type and double-waist-bar type. The “waist bar” was a transversal wood bar inset in the part. Compared with a plank door, this kind of lattice door was better for lighting, more attractive in appearance, and lighter in weight. &lt;br /&gt;
&lt;br /&gt;
In the Song dynasty, windows with vertical rods remained prevalent, while windows with traceries or scroll work were occasionally installed. There were two kinds of lattices used in windows: flat lattice and cuspate lattice.. The cross section of a flat lattice strip was rectangular or square; whereas the cross section of a cuspate lattice strip was a triangle, with an angle pointing outwards and the bottom pointing inwards, so that the indoor side of the lattice could be pasted with paper or fabrics. &lt;br /&gt;
During the evolutionary development of classical doors, between plank doors and lattice doors there was another kind of door called a “soft door”. A soft door was a frame structure, with a waist bar in the middle, and panels were inset in grooves above and below the bar. The advantage of a soft door was that it was light in weight and resistant to deformation. The soft door is considered to be the predecessor of the lattice door. &lt;br /&gt;
&lt;br /&gt;
Lattice doors in Song times were wide and low, while in the Ming and Qing such doors (renamed “partition doors) became narrower and higher. Two reasons were attributable to such changes. First, horizontal upper windows were seldom installed on top of partition doors in the Ming and Qing. Second, very often in Ming and Qing constructions, partition formed much of the facade of a house, and an increase in the number of such doors could create a more rhythmic effect, which would also make it easier to evenly distribute the doors. &lt;br /&gt;
&lt;br /&gt;
Innumerable doors and windows of the Ming and Qing, either from official buildings or from private residences, have survived today, including all kinds of exquisitely made partition doors and still windows. All the doors and windows illustrated in this book are products of the Ming and Qing dynasties. As the area south of the Yangtze River was prosperous and rich, and possessed a very talented society, doors and windows from this area are especially representative of the talents and adeptness of craftsmen in older times.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 01:05, 23 November 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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Yuelu Academy--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 02:29, 5 November 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
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===Jiaozi(A Paper Currency in Northern Song Dynasty)===&lt;br /&gt;
&lt;br /&gt;
[[File:jiaozi.jpg|160px|thumb|right|Jiaozi(A paper currency in Northern Song Dynasty)]]&lt;br /&gt;
&lt;br /&gt;
With the development of the exchange of goods, currency emerged. And at very begining, currency was served by certain recognized equivalents, such as seashells. Gradually precious metals like gold and silver took the place of those equivalents as currency. However, when metal currency was used for a long time, it became worn out and worthless. People realized that they could use other things to replace the metal currency in circulation, so paper currency appeared. The earliest paper currency in the world was the &amp;quot;jiaozi&amp;quot; of Chengdu, Sichuan province, during the Northern Song Dynasty. China was the first country in the world to use paper currency.&lt;br /&gt;
&lt;br /&gt;
====The Emergence of Jiaozi====&lt;br /&gt;
&lt;br /&gt;
The appearance of paper currency in the Northern Song Dynasty was not accidental; it was an inevitable product of socio-political and economic development. With the rapid development of the commodity economy in the Song Dynasty, there was a need for more currency in circulation, but the copper coin was in shortage and couldn't meet the demand in circulation. Iron coin was common in the Sichuan region at the time, and was of low value and heavy weight, making it extremely inconvenient to use. Chengdu was an important economic centre, and the roads to the outside world were extremely rugged, so there was an objective need for a light currency, which is the main reason why paper currency first appeared in Sichuan. Furthermore, although the Northern Song Dynasty was a country of highly centralized feudal dictatorship, the national currency was not uniform and there were several currency zones, each with its own rules, which were not used by the other. In addition, the Song government was frequently attacked by the Liao, Xia and Jin dynasties, and had to issue paper currency to cover its financial deficit. All these reasons led to the creation of the paper currency, &amp;quot;jiaozi&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====The Development of Jiaozi====&lt;br /&gt;
&lt;br /&gt;
Initially, jiaozi was issued freely by merchants. In the early years of the Northern Song Dynasty, &amp;quot;jiaozi banks&amp;quot; emerged in Chengdu, Sichuan province, for merchants carrying large sums of money who operated a cash deposit business. At this time, jiaozi was only a form of deposit and withdrawal receipt, not currency. With the development of the commodity economy, the use of jiaozi became more and more widespread, and many merchants joined together to set up jiaozi banks specializing in issuing and exchanging jiaozi, and they also opened branch banks in various places. Due to the creditworthiness of the jiaozi bank owners, people could withdraw their money as they came. And the printed designs of jiaozi were too exquisite to be forged, the bank owners began to print jiaozi with a uniform denomination and format, which was issued to the market as a new means of circulation. This kind of jiaozi was already the symbol for minted coins, and really became paper currency. But it had not yet been recognized by the government, and was still issued by private individuals as &amp;quot;private jiaozi&amp;quot;. Not all jiaozi banks were law-abiding and trustworthy. During the Jingde reign (1004-1007), Zhang Yong, the governor of Yizhou, reorganized the jiaozi banks, weeding out the outlaws and exclusively let sixteen wealthy merchant run the banks. It was only then that the issuance of jiaozi was recognized by the government. In the first year of the reign of Emperor Renzong of the Song Dynasty (1023), the government set up the Yizhou Jiaozi Affairs Department, with one or two officials as supervisors to preside over the issuance of jiaozi, and set up a paper-copying academy to eliminate currency forgery, strictly enforcing the printing process. This was the earliest paper currency officially issued by the government in China - the &amp;quot;official jiaozi&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====The Influence of Jiaozi====&lt;br /&gt;
&lt;br /&gt;
The advent of jiaozi facilitated commercial exchanges and made up for the shortage of money in circulation, which is a major achievement in the history of China's currency. In addition, as the earliest paper currency issued in China and even in the world, jiaozi occupies an important position in the history of printing and printmaking, and is of great significance to the study of China's ancient paper currency printing technology, as well as a contribution of China's financial industry to the world.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] He Shengming.Dictionary of Finance and Economics[M].China Finance and Economics Press,1990.&lt;br /&gt;
&lt;br /&gt;
[2] Paper currency.Modern Chinese Dictionary (7th Edition)[M].The Commercial Press,2016.&lt;br /&gt;
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[3] Jiaozi.Modern Chinese Dictionary (7th Edition)[M].The Commercial Press,2016.&lt;br /&gt;
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[4] Li You.Facts of The Song Dynasty[M].The Commercial Press,1935.&lt;br /&gt;
&lt;br /&gt;
[5] Xuan Yanwen.A Brief Analysis of Paper Currency in Song Dynasty-Jiaozi as An Example[D].Shanghai Academy of Social Sciences,2015.&lt;br /&gt;
&lt;br /&gt;
[6] Wang Baoping.On Jiaozi And The Commercial Prosperity of The Song Dynasty[J].Journal of Kaifeng Vocational College of Culture &amp;amp; Art,2010,02:47-50.&lt;br /&gt;
&lt;br /&gt;
===Vocabulary List===&lt;br /&gt;
&lt;br /&gt;
jiaozi   交子&lt;br /&gt;
&lt;br /&gt;
jiaozi bank   交子铺&lt;br /&gt;
&lt;br /&gt;
private jiaozi   私交&lt;br /&gt;
&lt;br /&gt;
Zhang Yong   张咏&lt;br /&gt;
&lt;br /&gt;
Yizhou   益州&lt;br /&gt;
&lt;br /&gt;
Yizhou Jiaozi Affairs Department   益州交子务&lt;br /&gt;
&lt;br /&gt;
official jiaozi   官交子&lt;br /&gt;
&lt;br /&gt;
===Questions===&lt;br /&gt;
&lt;br /&gt;
1.What is the earliest paper currency in the world?&lt;br /&gt;
&lt;br /&gt;
2.Why did people in the Northern Song Dynasty give up using iron and copper coins as currency in circulation?&lt;br /&gt;
&lt;br /&gt;
3.How did jiaozi come into being?&lt;br /&gt;
&lt;br /&gt;
4.Which group of people firstly issued jiaozi?&lt;br /&gt;
&lt;br /&gt;
5.When was jiaozi officially issued by the government?&lt;br /&gt;
&lt;br /&gt;
6.What achievements did jiaozi make?&lt;br /&gt;
&lt;br /&gt;
7.What other Chinese paper currency do you know?&lt;br /&gt;
&lt;br /&gt;
--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 07:51, 11 November 2020 (UTC)Zou Xinyu&lt;br /&gt;
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==Zubareva, Ekaterina==&lt;br /&gt;
'''Chinese traditional make up--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 15:02, 14 November 2020 (UTC)&lt;br /&gt;
'''&lt;br /&gt;
&lt;br /&gt;
'''I.Base make up'''&lt;br /&gt;
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'''II.Color make up'''&lt;br /&gt;
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'''III.Tang dynasty make up'''&lt;br /&gt;
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'''References'''&lt;br /&gt;
&lt;br /&gt;
'''Vocabulary List'''&lt;br /&gt;
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'''Questions'''&lt;/div&gt;</summary>
		<author><name>Cao Runxin</name></author>
	</entry>
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